I heard this phrase several times in England this past weekend. I went to the little town of Hitchin for a conducting workshop, and whenever we tried a new technique or gesture, we were encouraged to “have a go” at it, or give it a try.
The orchestra of conductors, awaiting a turn at the helm.
It was an inspiring workshop. The teacher taught conducting in a different way, so I felt I was re-learning much of the conducting technique from nothing. Despite differences, however, there were many similarities. I was reminded of some basic things I had forgotten.
Tips on creating a clear pendulum swing
Overall, the main things I will take away from the workshop could be summarized as the following:
– Score learning/study – I need to get better at marking phrases, really knowing the score inside and out, and not relying on the score while conducting. Get that head up out of the music!
– Stance – my posture should be active, ready to spring up when needed. My muscles should be engaged.
– Lower hands – it looks more controlled if a conductor’s hands stay lower. It also draws the orchestra’s attention inward, rather than giving them a visual smack in the face.
– Ear hunger – I should be enjoying the sound, listening deeply, and drawing that sound in to me through my gestures. This is probably the biggest new thing, although I think it’s something I knew intuitively from violin but hadn’t yet carried it over to my conducting. I really have to enjoy the sound of the music if the kids are going to learn to enjoy their own sound.
– Phrases – The same phrases I learn in score study should also come out in my left hand movements. Like pulling pizza dough or taffy, there should be a mime-like movement showing the tension and release of a full phrase.
Gaining new enthusiasm for conducting
The workshop was fun, which was just what I needed because my previous conducting experiences had been stressful. I always felt the pressure to do well. I was enslaved to grades, success, and my value as a conductor. Some people learn well under pressure, but I tend to shrink back from it and just do what is needed to make it through the class.
The problem is, conducting is a part of my life now as a teacher. I can’t just be “making it through” something that could be another outlet of my passion and emotion the way violin is. Conducting has the potential to be a physical expression of the music I hear in my head and feel in my soul. This workshop reminded me of that, and gives me something to strive for in this upcoming year of teaching.
Good atmosphere includes beautiful gardens!
The course was for people from a range of backgrounds; most had never conducted before, or only conducted basic beat patterns for their amateur orchestras. The atmosphere was very relaxed, without that pressure I had previously experienced. It was a good start to my new perspective on conducting.
The whole conducting group
I also enjoyed conversations with all of the other participants of the conducting course and the Viol course happening simultaneously. Viols are fretted string instruments from the Renaissance period.
Swedish viol enthusiast
I talked about religion, faith, and truth with a Swedish girl who is studying music history/theory at Cambridge. I talked about the Jesus of the Bible and the Jesus of the Qur’an with the principal oboist of the Royal Orchestra of Oman. The conducting teacher told me about his experiences growing up in the Church of England. A participant in the course told me of his confusion of being raised Methodist by a Jewish man who left Berlin during a difficult time. Another participant discussed the spiritual connection he felt with music, going so far as to call it his “god.”
our violist and oboist relaxing between sessions
Tea: time for mingling and interaction
There was fertile ground for discussion in this little musical town. I enjoyed it immensely and praise God that He gave me so many opportunities to introduce people to the Jesus I know and love.
To see more pictures, go here.
