The conductor should stand steady, relax his body in a controlled way, stand under his shoulders, separate his feet, stretch his back straight and feel comfortable and natural; The facial expression is rich and natural; Bright eyes and rich expressions. The conductor's hands contain rich chorus artistic language, and each movement expresses a certain intention. Hand is the main tool of chorus conductor.

The basic posture of the hand can be roughly divided into the following categories:

1, commonly used posture fingers naturally bend, palms down, like the feeling of being placed on a volleyball. The tapping point is located at the metacarpophalangeal joint of the middle finger. When knocking, the wrist must remain stable and never swing up and down. The palm of the right hand is always downward, forward and downward; The palm of the left hand can also face the inside, the lower inside and the upper inside. Don't look straight ahead with your palm unless you need it.

2. Holding an empty fist indicates strength, which is often used when it is strong.

3, thumb and forefinger gently pinch, indicating weakness, commonly used when shooting a weak lens.

4, the palm naturally stretches, indicating softness and lyricism.

5. The palm of the left hand is slightly nervous to the inside of the side and the top, indicating strength. Raising your arms gradually means getting stronger. The command line is completed by hand, the forearm is attached to the movement of the hand, and the big arm follows the forearm.

Move it. When the hand is closed to the center, the forearm retracts and the big arm gradually approaches the body; When the hand moves forward, the big arm gradually leaves the sides of the body. The basic posture of the conductor must be practiced frequently in combination with the beat movements, which is essential for the conductor.

Less homework. Meticulous and strict.

Second, the command of the beat action

Strike action is the most important basic action for commanders to conduct command activities. The correctness and quality of this action directly affect the success or failure of the command work. The tapping action consists of two parts:

1. Hitting is a top-down hitting action, which is exerted by the shoulders and drives the arms and forearms. It feels like hammering a nail. The lowest point of this action is the most powerful, and the command theory calls it "beating point".

2. Reflection is a natural rebound action after hitting the ball. It feels like a rebound after drumming.

Serious experience: acceleration before the point, muscle tension; Slow down and relax muscles after clicking is the key to mastering the hitting action.

Strike is a conductor's basic skill, and amateur conductors should practice hard.

Third, the tapping skills of the conductor.

In order to meet the changing needs of music speed, intensity and emotion, it is necessary to adjust the angles of slapping and reflection, as well as the speed and intensity of the slapping process, thus forming different types of slapping skills. The general rule is:

Fast, jumping and rhythmic music, with fast beat speed, great strength and small reflection angle; Slow, soft and slow-paced music has slow beat speed, small intensity and large reflection angle. The basic command method is roughly as follows

Species:

1, the straight tapping line is a straight line from top to bottom, the tapping point is clear, the reflection angle is sharp, and the acceleration and deceleration before and after the tapping point are obvious. Linear form is the basic form of percussion, which is mostly used to express music with medium speed and fast speed, fast speed and extremely fast speed, as well as non-Legato and staccato singing.

2. The oblique strike line is oblique, and the strike point is clear, but the reflection angle is not as sharp as the straight line, and the acceleration and deceleration before and after the strike point are obvious. Suitable for singing with moderate speed and strength and non-Legato-based singing.

3. The arc-shaped reflection line is a big diagonal line, and the beat line is connected with the reflection line in an arc shape. The beat point only exists in the inner sense of speed, and there is almost no sense of acceleration and deceleration before and after the beat point; Suitable for slow, lyrical and weak Legato singing.

Command methods are constantly created and summarized in the commander's command practice, and commanders can correctly, flexibly and comprehensively use and create different command methods in the command practice.

Fourth, the command of motor skills.

The command method is very skillful, and learners must practice it often and carefully to master it. Pay attention to the following items when practicing:

1, carefully understand the relevant theories and technical essentials;

2. Keep the correct posture;

3. Pay attention to the range of hand movements;

4, wrist support hand movements, do not swing up and down, the palm should always be down or down;

5. Raise your arms naturally, don't hold them high on your chest, and don't clamp your arms;

6. Relax your shoulders and don't stir up and down with the flapping action;

7. Elbows should be relaxed and droop naturally, and they should not be clamped or overstretched;

8. The tapping line should always be on the front vertical plane, up and down, left and right, and never swing to the choir;

9. The conductor must practice basic clapping. This kind of exercise is simple and boring, but it must be mastered skillfully.

Five, the principle of designing command mode

The command schema is designed according to the law of beat strength, and the beat strength is nothing more than strong beat, sub-strong beat and weak beat. Life practice tells us that the direction of natural forces is mostly from top to bottom, and the downward center of gravity and upward centrifugal force conform to the mechanical law of object motion, and the design of instruction schema must also follow this principle.

So the following principles emerged: the direction of flapping action: the strong beat is from top to bottom, the second strong beat is from inside to outside, and the weak beat is from outside to inside. Direction of reflection action: Otherwise. The above are the general principles for designing command mode.

Occasionally, the direction of the weak beat will overlap with the direction of the second strong beat. Although the direction is the same, the length of the line and the height of the beat point are completely different.

1, draw a straight line from top to bottom;

2. The second strong beat is a long diagonal from top to bottom and from inside to outside;

3. Short diagonal line from top to bottom inward or outward.

The reflection line is always opposite to the beat line, which is connected by straight lines, oblique lines and arcs.

There is no uniform command mode, and not everyone's command mode must be exactly the same. The command schema can be designed by itself. As long as it conforms to the law of beat strength in music, the principle of object motion mechanics and the design principle of command schema, the command will be comfortable and natural.

Some chorus directors think that weak beat is a bottom-up lift in their works, but I don't agree. How to mention the weak beat? Can't understand.

I think: in the basic command schema, as long as it is a beat line, the general trend of strong beat, sub-strong beat or weak beat should be from top to bottom. Because the flapping action needs strength, only in this way can it meet the "center of gravity"

Under the principle of ". Just to distinguish the strong beat, the second strong beat, the weak beat, the upper and lower lines, the upper and lower long diagonal lines, and the upper and lower short diagonal lines are slightly different. As we know, the reflection line is always opposite to the direction of the beat line, which requires reflection action.

Relaxed, the reflection line conforms to the principle of "centrifugal upward" Some beginners often appear "backhand" phenomenon in the process of command, which is the reason why they violate the design principle of command schema.

Sixth, the command schema of common beats.

There are three kinds of beats in music:

1, single beat: each bar has only one double beat and three beats.

2. Multi-beat: Each bar has more than one single-beat sequence of the same type.

3. Mixed beat: Each bar has more than one single beat sequence of different types.

Common basic beat command modes are: two beats, three beats and four beats, and other beat modes are all evolved from these three modes. The schema consists of three parts, namely, the beat line (solid line), the beat point (located at the end of the beat line and the intersection of the beat line and the reflection line) and the reflection line (dotted line).

1, single shot

A, two beats and two beats music is the most common, and the command schema is also the most basic. Common beats are: 42 beats, 22 beats.

In the picture, the beat point of the first beat is at the belt, and the beat point of the second beat can be slightly higher. Schematics is a right-handed schema, which can be used with both hands in the same direction when practicing.

Proceed symmetrically.

B. The common beat per minute in triple beats are: four or three beats, eight or three beats,

2. Double beat

Multi-beat schema cannot be represented by repeated single-beat schema, for example, four-beat schema is not the repetition of two two-beat schemas. Because there is only one strong beat in each bar of the remake, if two two beat pictures are used.

Formally, there will be two strong beats, which will affect the stability and consistency of the performance of the work, and even confuse people with the specific position of the beat, thus leading to confusion in singing.

A. Four beats are composed of (2+2). There are four beats in each bar, the first beat is strong beat, the third beat is the second strong beat, and the others are weak beats. Common time signs are: four beats or four beats.

B. Six beats are composed of (3+3). There are six beats in each bar, the first beat is the strong beat, the fourth beat is the second strong beat, and the rest are the weak beats. Common beats are 86 beats and 46 beats.

C. Nine beats (3+3+3). There are nine beats in each bar.

The first beat is strong, the fourth and seventh beats are strong, and the others are weak. Common beats are: eight beats or nine beats.

D. Twelve beats are composed of (3+3+3+3). Each bar has 12 beats,

The first beat is a strong beat, the fourth, seventh and tenth beats are sub-strong beats, and the rest are weak beats. Common beats are: eight beats or twelve beats.

Six beats, nine beats, twelve beats and so on. In the complex beat, because of the long period of strong beat, the forward momentum is buffered, so the music is mostly adagio, which often shows calm, soft and lyrical emotions, and the command line should be smooth and coherent. If the music is faster, the command mode should be simplified. The simplification of the schema will be introduced in the following contents.

3, mixed beat

A pentameter consists of (2+3) or (3+2). The first beat of each bar is a strong beat, the next stress is a strong beat, and the others are weak beats. Common beats are: four or five beats.

B, seven time consists of (2+2+3) or (2+3+2) or (3+2+2). From the definition of mixed beat, seven beats will not be (3+4) or (4+3). Only by defining the beat structure of seven beats can we correctly design the command schema of seven beats. Each bar has a strong beat, two sub-strong beats, and the others are weak beats. Common time signs are: four beats or seven beats.

Seven, start.

The starting beat is the first action of the conductor, and it is the process of conducting accompaniment or chorus from preparation to start. At the beginning of the movement, we should prompt the speed, strength and basic emotions at the beginning of the chorus. Therefore, starting the beat is an important step for the conductor. The startup action consists of three parts:

1, ready

Eyes first look around the choir to concentrate the attention of the choir members. The facial expression is firm and confident, and the eyes are full of emotions in the chorus works and expectations for the choir's successful singing. Hands slowly lifted and then fell back, and remained relatively stable and static after falling back. The right hand is slightly higher, the distance between hands is about 20 cm, and the height is below the chest. Relax your shoulders and arms naturally.

If the chorus has a prelude and the accompaniment is a piano instrument, then you can only use your right hand to do the preparatory action, and your left hand can join the command action when introducing the chorus. If the accompaniment is a big band, you need to do preparatory movements with your hands. Command input

When rehearsing, don't form the bad habit of speaking in preparation. Because, after the conductor prepares for the action, the chorus members are in a highly concentrated state, ready to inhale at any time, and the preparation time is too long.

Everybody relax. Over time, the preparation will lose concentration.

Step 2 inhale

Inhalation is the key action in the process of starting shooting. The main point of action is that the preparatory action before inhalation must be in a static state, and the position is at the beat point of the beat before the start. Then do a clear and decisive inhalation without silk.

The slightest hesitation, inhalation action is actually a reflex action that has been practiced. When the conductor inhales, he should also inhale with the choir. Inhalation is part of the chorus. Therefore, the speed of inhalation should be equal to

The speed and rhythm of the song are the same. Inhalation starts from the beat point of the beat before singing and is connected with the start action. The direction of inhalation must be accurate. Otherwise, it cannot be correctly connected to the first beat of singing in the command schema.

Causing confusion, inhaling and starting are two parts of a continuous action.

Step 3 start shooting

After inhaling, the first beat is called the start beat. From this beat, the choir enters the command schema and sings at the beat point.

Because the beginning of a song can be located in different positions in the bar, there are two kinds of the beginning of regular rhythm and the beginning of irregular rhythm. Regular rhythm start: that is, the first beat after the bar line starts; Irregular rhythm

Beat: refers to starting from a place where there is no strong beat. No matter what kind of startup, the preparatory action is always behind the beat point of the previous beat of the schema, and the inhalation action is on the reflection line of this beat. The first beat is the first beat of the chorus, and the first sound should be taken.

Get to the point.

The following shows several common startup modes:

Hit hard and start filming.

March, happy mood: the action should be crisp and powerful. If you shoot clearly, the reflection will be light.

The beginning of lyric songs and euphemistic emotions: the movements should be soft and coherent. Take pictures clearly and reflect slowly.

Weak beat and start beat

C. The split start: that is, the second half of the unit beat.

There is no difference between the command schema of split shooting and start shooting and the above schema. The difference is that at the beginning of the whole beat, while directing the inhalation action, the singing starts from the beat point; At the beginning of time division, inhale in the first half after the beat point, and sing in the second half. The conductor should pay special attention to: the inhalation action of the split beat and the start beat should be divided into two parts:

1, taking the original inhalation action as the preparation action for inhalation;

2. Imagine the original flapping action as an inhalation action. At the beginning, the amplitude and intensity of inhalation preparation must be less than that of inhalation.

Eight, shoot

The syncopator is the last action of directing a chorus work, which plays an equally important role as starting the beat. Sometimes, the end of chorus works will leave a deeper impression than the beginning, which shows the integrity of music image. The conductor's action of collecting and shooting must perfectly interpret the artistic conception of chorus works, and must not be rushed.

The shooting action consists of two parts:

1, ready

This action is the same as the inhalation action at the beginning of the beat. On the reflection line of the last beat of the song, it is just a little faster and a little higher than the normal reflection line. The size of the preparatory action depends on the artistic conception, emotion, speed and strength at the end of the work. Preparation and shooting are also two parts of a continuous action.

Step 2 take a chance

This action indicates the stop of the chorus, and the design of the take-up action should also be based on the artistic conception, emotion, speed and strength at the end of the work, and there is no unified regulation like "standard parts".

Theoretically, the ending point is always at the beginning of the next beat, so as to accurately express the composer's intention at the end of the work. Take a clear shot. Because of the difference of time, speed, strength and emotional expression at the end of the song,

The action of taking pictures is also different. Strong take-up can make the fist at the take-up point strong, and there should be a small and powerful fall-back process from top to bottom to express the chorus works.

The power of. For a short and jumping racket, you can use your right hand alone. After you are ready for the action, draw a small circle from outside to inside. All you have to do is hold the racket with your thumb and forefinger. Step by step, the extension is tightened, and the right hand is guaranteed in the extension tightening.

The hint of holding the action and raising the left hand is getting stronger and stronger. Before stretching, make full preparations with your hands, make fists and clap your hands. Regarding the extension of the duration of the mark, many people advocate that the duration of the original note should be doubled and strictly follow the beat.

Disapprove. The definition of extension mark in music theory is that it can be extended at will according to the style of the work and the wishes of the singer. So I think: 1, it is not appropriate to extend the duration of the original note only twice; 2. A beat should not be regarded as an extension.

The rhythm of the unit. If the time limit is specified and there is a sense of rhythm, contrary to the "arbitrary extension" fading, the take-up is prolonged, and the right hand holding action on the take-up is prolonged, and the left hand is pulled down to indicate fading, and the two hands are held before the extension is over.

After a small preparatory circle, pinch your thumb and forefinger.

The volley action can't be summarized by several modes, but depends on the commander's careful experience and careful design in command practice. The above is my personal understanding, for reference only. Taking a shot is different from starting a shot. From silence to voice, love

From nature to piety; Although the sound of the music has stopped, the expressions of the choir members, the posture of the conductor and the artistic conception of the chorus works should not change, so that the audience's thoughts can continue to daydream. After filming, the conductor should keep it safe.

Stop for a moment, then slowly relax and come out of the artistic conception of the work.

Nine, long tone, syncopation, point and line rhythm command

For long-lasting sounds or sounds marked with sustained sounds, the left hand usually holds the sound, the right hand has a long normal beat, and the sustained sound is held with the left hand.

Keep moving: it means that the hand stops at the hitting point. At this time, the hand muscles are slightly tense, and the reflex action of the last beat of the sustain tone suddenly relaxes, indicating that the next beat is entered.

1, the long tone holding action is suitable for long tones.

2, the rhythm of the beat, you can also use the action of holding, where the hug is instantaneous. When holding syncopation, the forearm and hand hold each other for a moment in the reflex action, which makes the muscles tense. At this time, the reflection line is longer than normal.

3, rhythmic and rhythmic, you can also use the action of holding. The maintenance here is short-lived and instantaneous.

Ten, breathing and rest command method

Breathing is an important form of music. It is not only the breath in singing, but also plays an important role in music clauses and emotional expression. Not all composers clearly mark the score, but it needs a conductor to design and arrange it.

Pause is a pause in the process of music, which is long and short. It is an organic part of rhythm and one of the means of music expression. Most composers have clearly marked the score, and the conductor should convey it to the chorus members with actions.

Breathing can often be arranged at rest, but not all breathing is carried out at rest. In action, it is often necessary for the commander to explicitly prompt breathing, but not every breath is carried out under the command prompt.

1, breathe

Chorus breathing, like punctuation in an article, is as important to an article as conducting. If there is no proper breathing (clause) in music, it will not only bring difficulties to the singer, but also affect the portrayal of the music image and make the audience feel imperfect.

The conductor's cue to inhale is the same as the start, only between phrases.

When the chorus enters and exits, the inhalation action can also contain the intention of "receiving and inhaling at the same time", which is a common command method.

Step 2 rest

A pause in music means that the sound stops rhythmically here. Pause is a means of organizing rhythm. At this time, although there is a short pause in singing, the music is actually going on, so the conductor should also give accurate hints.

A, more than a beat of pause

At this time, you have to do something about the rest, and you can go in and out.

B, let's take a beat and pause.

If the rest happens to be in the clause, the conductor should prompt the rest to inhale; The rest is not in the terms, and the knocking is normal.

Eleven, the command method of co-production and sub-production.

Apply the previously known command pattern at medium speed. According to the change of music speed, the command schema can be simplified or subdivided into fast or slow works.

1, in tune

Cooperative production refers to the simplification of basic command mode. The principle of co-production is: only the strong beat and the second strong beat are played in each bar. So two beats and three beats are simplified to one beat.

Four beats and six beats can be simplified to two beats, and nine beats can be simplified to three beats. After the beat is simplified, complex schema and complex beat action are avoided. What's important is that the chorus action is more conducive to the performance of chorus works, especially those whose unit beat is less than quarter notes and faster.

You can also regard every two bars as two beats and use them to direct the schema.

Not every work can be combined in a single way from beginning to end, and it needs careful design from sentence and melody structure to make a correct combination.

2. fishing line ball

Split beat refers to subdividing the basic beat in the basic schema. The principle of subdivision is: under the premise of maintaining the original command schema, one beat is divided into two beats. Usually used for slow work and fine work.

Sometimes, when the speed of a song gradually slows down, you can also use the beat command flexibly. When many works are terminated, they often end slowly, and the command mode of beat subdivision can also be used locally.

The command methods of co-production and sub-production can be used independently, comprehensively, as a whole or locally, and the conductor can design and use them flexibly according to specific works.

Twelve, the command method of strength and speed

1, strength comparison

The change of intensity is one of the important means of expression of chorus art, and the contrast of intensity can make the style, artistic conception, emotion and color of the works better interpreted.

The conductor's prompt for the change of strength mainly depends on the size of the action and the tension of the arm muscles.

First, the scope of the command action

The general rule is: when weak, the arm movement range is small and the position is low; When strong, the arm moves in a large range and the position is high. The range of command action: from eyebrows to waist. The change from strength to weakness, the conductor uses the action of lifting and pulling down to hint.

B, the tension of the command action

The general rule is: when you are weak, your arm muscles relax, but you can't relax, you must have a certain sense of weight; When you are strong, your arm muscles are tense, but don't be stiff and have a strong sense of weight. When weakened, the arm muscles change from tension to

The sense of relaxation and load-bearing gradually decreases. When getting stronger, the arm muscles change from relaxation to tension, and the sense of weight is gradually enhanced. When it is particularly strong, it can be expressed with empty fists; When it is very weak, it can only be expressed by the subtle movements of the fingers.

2. Speed comparison

The change of speed is also one of the important manifestations of chorus art. Composers usually give clear marks to the speed of their works, and conductors can also handle the speed according to their own understanding of the works. When the speed changes, the conductor should pay attention to the following points: a, the forecast is clear, so that the choir can see at a glance and know fairly well. B. Clap decisively, so that the choir can sing at the same speed and perfectly.

Thirteen, the division of command.

The practice of commanding high-five basic movements is mostly synchronous movements with symmetrical hands, which is very important when commanding begins to learn. However, while improving the command level, commanders must master the command skills of division of labor with both hands.

The work of conducting has long been more than just the concept of "beat". Conductor expresses beat, rhythm, speed and strength by tapping; At the same time, it is also necessary to inspire and drive the choir to sing, express the ideological connotation of the work and portray the artistic conception of the work. Therefore, the division of labor between hands and their respective responsibilities has become an inevitable choice for command work.

Beshina, a famous French chorus conductor, said when he went to China in 2002 to start a master class of chorus conductor: "In the world of chorus art, the left hand of the conductor is heaven, and the right hand is heaven."

Land. "The conductor's hands contain the whole world of chorus art. He defined the role of the conductor vividly, profoundly, incisively and accurately with the master's thinking, which makes people admire him very much.

The specific division of labor between hands is as big as:

1. The right hand is mainly responsible for commanding the patterned tapping action, and prompting the rhythm, beat, speed and strength of chorus music through the lines of the patterned tapping and the accurate tapping point. As we all know, these are the basic elements of chorus music. I think this is why Master Beckner compared his right hand to the earth.

2. The left hand is mainly responsible for prompting the ups and downs of the melody line of chorus music, the suppression of emotions, the rigidity and softness of the voice, the volume and the brightness of the timbre. This is a sky that chorus art can create and imagine.

Commanders have both the division of command activities and the coordination of command activities. For example, the tapping of command mode, the entry and exit of sound and so on. , you can participate with both hands.

In addition to the essential technical movements, the work of command is more important: the key prediction of artistic conception, emotion, speed, strength, breathing and singing, and this prediction ability is an important standard to measure a command level.

Conductor is free in the world of chorus art, and conductor should give full play to his intelligence, break through imprisonment and create his own unique style of conductor art, which should be the pursuit of chorus conductor all his life.

Huang Guimei

Published on 2012-05-0915: 23:17.

second floor[British English]; third floor[American English]

A: Chorus conductor is the soul of the choir. A good conductor should not only have certain artistic accomplishment, good professional accomplishment, good organizational ability and strict and harmonious cooperation style, but also have:

1, with the aura of music, is good at capturing various elements of music and expressing the connotation of music.

2, somatosensory, good at adjusting and using their own body movements, accurate and visible.

3. After the training process of commanding basic movements.

4. Have the necessary musical knowledge, such as vocal music, solfeggio, music theory, harmony, polyphony, musical form, multi-voice texture composition, piano performance, etc.

There are some innate factors in this industry, such as aura, somatosensory, hearing and so on. The female conductor should have both aura and domineering, and also have a somewhat masculine character.

There are ten skills:

1, command attitude

2, the basic action beat

3. Graphic potential of basic beat

Step 4: Prepare

5. Time division and synchronization

6, the principle of command action

7. Speed

8. Several ways to express speed

9. Division of labor between right and left hands

10, Beethoven Egmont