When two adjacent measures need to change beats, the reflection line of the previous beat should be higher and more obvious to attract the player's attention.

For example, bars 42 to 46 of Liu Fuan's "Capriccio on an Anhui Folk Song" are an ensemble of Chinese folk percussion instruments connected to the orchestral part. Here there are two beats, three beats, and one beat after another. There are several different beats in the second beat. The conductor should react faster when dealing with them, and raise the foreshadowed movements higher before each change of beat.

In addition, in the fourth section of Rimsky-Korsakov's symphonic suite "Arabian Nights", which describes the Baghdad festival, the author marked the 30th bar with 2/ 8 beats, this way of writing is very good. It means that the duration of each measure is the same, regardless of its rhythm. At this time, only one beat per measure is enough. That is to say, although the tempo is changed from the perspective of the score, there is no change in the conductor pattern. Of course, when music in 3/8 time appears, it can be a little slower and the movements are larger. When the 14th measure of the example music enters the 6/16 time beat, in order to stabilize the rhythm, the conductor can face the first violin and play straight up and down. of the second beat (i.e., no up-and-down motion of the reflected line). When the princess theme of the third movement appears in the music in A major in measure 142, its notation is still in 3/8 time, but the music character is the same as the third movement, which should be in 6/8 time, that is Taking two measures as a unit, in this case we can combine the two measures into a two-beat pattern, which is also an application of merged beats.