Conducting (V1 S5) (V2 S5)

Question 1

Four parts of beat pattern

Answer 1

Preparatory gesture, ictus, rebound, travel

Question 2

Preparatory gesture

Answer 2

Communicates tempo, Style, Dynamics, exact beginning of first note

Communicated with RH, or both hands where LH mirrors RH.

Question 3

Preparatory ictus

Answer 3

where movement changes direction at the top gesture and begins downward motion to the starting point

Question 4

first ictus

Answer 4

downbeat (after preparatory ictus)

Question 5

Staccato Style

Answer 5

Rebound is angular, travel shorter, give a flick of the wrist as you rebound.

Question 6

Legato Style

Answer 6

Smooth, rounded beat pattern and travel. Ictus points located at extremities in the pattern may be closer to the center as to not alter the tempo.

Question 7

Situations that require cues

Answer 7

Solos and entrances, entrances that follow long rests, important musical event, difficult entrances where musicians need assistance

Question 8

Guidance for cues

Answer 8

• use the hand that corresponds to the side of your body that the cue is going to (Body Mapping)
• avoid mirror conducting during LH cues
• instead of crossing hands, rotate body if you need RH cue for left side of ensemble (and vice versa)

Question 9

Conducting Fermatas

Answer 9

• Continue to move hands if holding note or chord
• palms up if holding sound, palms down if silence

Question 10

Unit Leader’s responsibilities

Answer 10

Understanding the score, understanding the genre, leading the ensemble

Question 11

March Tempo

Answer 11

100-132 bpm

Question 12

March introduction

Answer 12

4, 8, or 16 measueres in length. Short, attention grabbing. Usually built on V chord.

Question 13

First Strain

Answer 13

Presents melody, establishes tonality. 4 or 8 measure phrases, 16 or 32 measures long. Usually repeated at a different dynamic.

Question 14

Second Strain

Answer 14

16 or 32 measures long. Usually soft the first time through.

Question 15

Third Strain (trio)

Answer 15

Considered main melody of the march. break strain between repeats.

Question 16

Golden age for American marches

Answer 16

1850-1940

Question 17

John Philip Sousa

Answer 17

• Active duty for marine band 1868-1875
• Director of Marine band 1880-1892
• Developed Sousaphone

Question 18

Screamer march

Answer 18

130-200 bpm

Maestros before final strain, then accelerando

Circus bee (Fillmore), rolling thunder (Fillmore), and Barnum and bailey’s favorite (King)

Question 19

Kenneth Alford

Answer 19

Military career from 1895-1944

Colonel Bogey March

British Marches, have intricate countermelodies and have a full value stinger

Question 20

German and Russian Military Marches

Answer 20

German style was adapted by Russian composers. 110 bpm. Oom-pah feel.

Question 21

Fanfares

Answer 21

Performed by trumpets

Evolved to include percussion and other brass instruments as heard in Copland’s “Fanfare for the Common Man,” and the opening of Strauss’s “Sprach Zarathustra.”

“Post Time” - horse racing events

Elmer Bernstein’s “National Geographic Theme.” - includes full orchestra

Question 22

Recommended Baton Length

Answer 22

10-16 inches, 14-16 inches for outdoors or full ensemble.