action: the big arm drives the small arm, which is connected by the wrist, and the hand shape is the piano hand shape. Don't move your feet, tandem, don't come together, you can't stand steadily like that, and you don't have to walk in a t-step, which is about one foot apart. Before conducting, your hands are naturally perpendicular to your feet. Don't raise your hands too high when preparing to shoot, so as to avoid the chorus members' breath. Only when the music is accompanied, the right hand can beat the time with one hand. Yu Guang watched the piano accompaniment, always looking straight at the chorus members.
take a shot: just pinch your index finger and your big finger.
common faults: don't cross your hands or touch them when you clap. Always hit the same plane.
Two-handed division of labor: The right hand is the soul of the conductor, controlling the speed and rhythm. The left hand is the expression change of music.
Call-off: It is better to go to the typhoon stage. When you call-off, you should walk sideways, look at the stage position, thank the audience, turn around in place, turn around one or two steps in the middle of the call-off, and then turn around and start conducting.
4 beats (4/2, 4/4, 4/8) is a kind of compound beat, and its periodic laws of strength are: strong beat, weak beat, sub-strong beat and weak beat.
for the first racket, you should keep a proper distance between your hands, and make a slap action downwards. The reflection action will naturally bounce up along the slap action, and be careful not to tilt to the outside too much. The reflex action of the first beat has actually become a preparatory action to command the second beat.
The second beat is a weak beat, the command action is on the inner side of the first beat, and the amplitude of the stroke action is correspondingly reduced, so that the hands cannot cross when reflecting, and at most the palms of the hands overlap slightly.
The third beat is a strong beat, and the beating moves outward (slightly obliquely downward), and the reflection moves upward.
The fourth beat is a weak beat, which naturally falls back along with the reflection action of the third beat, and the fourth beat is made downward, and the reflection action bounces up from the inside.
The rhythm of this song is not fast, and there is a pause of 4 beats in the middle, so you can relax. It is suggested to change it into a "little action" of 2 beats to count the beats (just like prolonged sound processing). The problem lies in the obvious rise from bass la to treble la. It is suggested that the reflection should be upward after four beats, so as to play "horseshoe going south ..." from the high position-and so on, the melody line of the song is quite easy to master, and it is not necessary to always end up in one position.
2. It's more important to grasp the beat point. Don't draw a cross for the sake of drawing a cross. If you want to use four beats, you don't always have to stick to the bottom, left and right. It's more natural to level the positions of the four beat points when the feelings are dull:
"/2/3 | 1 \ 4" ...
3. At the end, please look at the spectrum number to prolong the mark (how many beats are counted): it is suggested that the four beats of "Fang" should be treated with a small extension sound, and the next section should be the first. Just like a brand-new weak beat), it naturally reflects to the right and beats to the pronunciation of so, and then beats three times. (Remember that the word "He" should be at a high level, so those four points are not immutable! ), the final word "He" is played with an extended tone. It is suggested that you can "nudge" the high position four times in eight beats, and then draw the beam inward.
I wish you success!