assignment 06.23.09

1. Research about Conducting techniques (print).

tnx fran..tutum gd ya ah.haha.

that's me

ay..nd gle tutum.haha..ang sa CAF kag GEOM diin?!hahaha/

WHAAAAAAAAAAT?! Tapos ma conduct ta?!

eeeee!!! guba computer namon! paano mag attach sang laptop sa printer man....Hmmmm...

i have no idea.hahaha.

jackyjacar wrote:i have no idea.hahaha.

Save mo sa Flashdrive. tapos saylo sa isa ka computer kag print.

ka alam gd ya ky cai.haha

muna man bi nahimo ko di hu.

teh ano na di answer? i post bi. Joke.

haha..ay..

To conduct well it is not enough to be manually talented and know how to move your hands - it requires also good understanding of human psychology. Conducting is not a language or a set of mathematical rules that squarely correspond to the way the orchestra is playing. Of course there are some basic conventions like the beating patterns, but the effective part of the technique consists of subtle ways to send subconscious messages to the players. In this sense the big paradox of the conducting is that clarity and expression are each others' antipodes. If you are very expressive and show players a lot of emotion, you cannot be crystal clear at the same time. If you are only concerned of precision, the performance is almost guaranteed to sound dull.

We can take as an example the barline, the "worst enemy of music". If you want to be clear and show each barline with a big vertical motion, you are guaranteed to have an involuntary accent on the bar line. Why is this? It is because a musician, let's say a string player, is moving his bow over the string in a state of heightened perception. When you make a big downwards motion in his field of vision, he reacts as if you would have given him a gentle push - the bow will be pressed against the string with a microscopic but involuntary motion. When one player does this, you could not possibly hear the difference, but when fifty players do it, the effect becomes very clear.

Many more things in conducting are counter-intuitive. If you want to make the music faster the natural reflex is to make bigger motions, like you would do if you would need to swim faster. In practice the way to accelerate the music is to make your motions gradually smaller so that it is obvious that every beat will be shorter and thus faster than the previous one. The same goes with the dynamics - the connection is not as simple as to say "big motion equals big sound". There exists also big sound with big resistance and concentration, all expressed in a smallest space, as well as light and airy sound with big motion when it is needed to encourage relaxed bowing.

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Copy paste?

Pati ka copy paste man akon.
Ari akon ya hu:
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(Wala ko na ni nabasa!)

Patria Carina P. Morente
III – St. Paul
Assignment in Music



Practice Techniques
These are some easy practice techniques which help with conducting form. Included are also some tips, tricks, hints and interesting points of note to help the beginning conductor.
Downbeats
To refine arm movement and make sure you are correctly hitting the focal point, tape some paper to a wall. Hold a pen in each hand and stand before the wall. Move your arms as if you were conducting the down beat. Try to keep the strokes in relatively the same place and all hitting the focal point.
To find your focal point, stand in front of a table with a height approximately where your focal point would be. Mark Xs on the table where your finger tips should hit. Conduct in front of the table and try to tap the Xs briefly every down beat. (Substitute the table with a friend's open palms if your can't find a good table).
*Helpful Hint* Think of the focal point as a hot-plate. It's hot so you only want to touch it briefly. Flick the focal point quickly, avoid slapping it.
To get the flicking motion down, get a big rubber band and loop it around your middle finger. Pull the band back to your elbow and conduct down beats with one hand. Feel the rubber band pulling your finger back as you flick downwards. Try to remember this feeling and copy it without the rubber band.
To check whether your hands move in towards your chest, stand in front of a mirror in the starting position. Have someone mark on the mirror (with post-it notes or tape) the edge of your chest starting from under your arm pits. Next conduct downbeats in front of the marked mirror, trying to keep your hands from crossing the marked line.
*Helpful hint* When conducting, think 'down'. Often one can begin to emphasize up as the beat. Severe emphasis on the up beat turns into hitches, or little accents at the top of the patterns. Thinking 'down' helps to eliminate this. Raise your arms, but focus on them dropping to the focal point.
Conducting two
*Helpful Hint* At the end of beat one, the hands and arms should remain in front of the body, not way out to the sides on a plane with the body.
Be mindful that on the swing up, the hands stay out and do not come back in. (Quick check: at the end of beat one, if your hands are anywhere closer to your body than your elbows are, your hands came in.)
Be mindful of spreading your hands too far apart in the 'out' part of the pattern. If your throw your hands way out, you will rush to bring them in again, and the beat will not be consistent.
*Interesting note* Most marches are conducted in two. Why? Well, you have two feet right? Some songs in four can be conducted in two. Since four can be divided into two, marching bands can play songs in four even though normal band members have two feet.
Conducting three
A further step-by-step explanation:
Down: bring arms down, hit focal point, go back up.
Out: bring arms down hit focal point, go out.
Up: bring arms down and in, hit focal point, go straight up.
*Tip* the 'Star Spangled Banner', the national anthem of the United States, is conducted in three, NOT in four, a common mistake.
*Interesting note* Waltzes are also conducted in three.
Conducting four
Down: bring arms down, hit focal point, go back up.
Down: bring arms down, hit focal point, go back up.
Out: bring arms down hit focal point, go out.
Up: bring arms down and in, hit focal point, go straight up.
This is a great teaching pattern since much music is in four and since it can be broken down into the three, two and one patterns very easily. The basic four pattern works with a variety of patterns, making it the best pattern for conducting a tempo change or for recovery when the band falls apart.


Fast tempo
Remember, the fast tempo pattern is the same but much smaller to accommodate the lack of time. Keep the upper arm relatively still; the elbow replaces the shoulder as a pivot point, so try to eliminate extra motion in the shoulder and upper arms to conserve energy and keep a consistent beat. Conduct with the forearms. Any extra movements in the arms must be with the hands to keep the beat clear.
Conducting with small relaxed patterns conserves energy and prevents much frustration.
Remember: The key to conducting a tempo change is the rebound.
Slow pattern
In a slow pattern, most of the arm movement is from the shoulder. Make sure you have a straight, even rebound on beat one, to maintain tempo consistency. Slow patterns are bigger than fast tempo patterns.


Source: http://method-behind-the-music.com/conducting/tips

haha..copy paste gne!haha.. chak2 man na gru..lol.
pla ni ka page imu?haha..
chak2 na imo ah.haha..
la q man gne nbasa aqn nga assign.haha.

Ambot daw 2-3 bala mo. HAHA! Indi na pag basaha ah. Wala ko man gani nabasa akon.

haha..wai q gd man gn basa aqn.hahaha..gn pang edit q lng kng my mga red lines.hahaha

ahahaha.

divide.by.zero wrote:

jackyjacar wrote:i have no idea.hahaha.

Save mo sa Flashdrive. tapos saylo sa isa ka computer kag print.

Di na..Kayo na computer.

udi2..haha