The conductor must know this from memory, and we suggest that cueing with eye contact is more likely to be effective than with the hands It is then very possible for the entrances in measures 7 and 8 to be unstable. It’s very easy for this to be a little slower than you might want so it is important to be positive.
In many ways, getting it going in here (2 nd violins in the original) is harder than the opening because it is quiet and only one section plays. Because of that it is conventional practice to passively indicate the beginning of measure 5 Whereas the first fermata (measure 2) comes straight after the eighth notes, there is a half note in measure 4 tied to the fermata in measure 5. This is no bad thing, but with a non-professional orchestra you might need to train the wind and brass players to look at the concertmaster more and you less – also no bad thing. If you choose not to cut, you are delegating the responsibility for the players coming off together to the concertmaster. That’s a matter of choice and whichever you choose you might find the material in Technique 3 on fermatas helpful in executing your chosen interpretation. You need to decide whether to cut off the fermatas at the end of these measures. Assuming you can get everyone to play the first measure together, here are some further points to bear in mind: Measure(s) You might want to revisit that or take a quick look if you’ve arrived here without looking at that. We have already considered starting Beethoven’s Symphony No.5 during the discussion on active and passive preparatory beats back in Technique Chapter 2. Interviews with Professionals Menu ToggleĦ.4 Some Other Difficult Things to Conduct!.Diversity in the Music Industry Menu Toggle.The Past, Present and Future of Classical Music.The Non-professional Sector Menu Toggle.6.3 Fellowships & Assistant Conductor Positions.Transcriptions, Editions and Arrangements.Score Study, Preparation & Background Menu Toggle.
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