The craft of conducting – the basics

Video 11 – The left hand, hand independence, cues and dynamics

Teacher music resource developed by The Arts Unit

Video 11 and supplementary materials

Conductor rehearsing with teachers at teacher choral workshop
Teacher choral workshop The Arts Unit

The left hand, hand independence, cues and dynamics

Video 11 and the supplementary exercises will gradually help develop ‘the whole package’.

This is the springboard to enable you to ‘BE’ the music, not just conduct it.

Conductor with choir and orchestra at Festival of Choral Music 2013
Festival of Choral Music 2013. Photo credit: Anna Warr

The left hand, hand independence and lots more - video chapter markers

You may like to use the video chapter marker timings to review and revise areas of interest. Select the collapsible text arrow to view.

Please note: chapter markers are also provided on the video.

  • 02:25 - A recap, how and when to use the left hand

  • 03:15 - The neutral left hand ‘look’

  • 03:59 - Some left hand gestures to try.

  • 05:25 - Making the left hand significant.

  • 07:48- Independence exercise #1

  • 08:38 - Independence exercise #2

  • 08:58 - Independence exercise #3

  • 09:36 - Independence exercise #4

  • 09:56 - Independence exercise #5

  • 10:35 - Independence exercise #6

  • 11:15 - Cues: why and how to show them

  • 13:02 - Cueing according to location

  • 14:00 - Cueing on beat 1 in 4/4

  • 14:18 - Cueing on beat 2 in 4/4

  • 14:34 - Cueing on beat 3 in 4/4

  • 14:48 - Cueing on beat 4 in 4/4

  • 15:15 - All about the cue!

  • 18:15 - A conductor's friend – the metronome!

  • 19:30 - Reinforcing rhythms

  • 20:44 - Exercises for independence and reinforcing rhythms.

The left hand

The left hand (LH) is useful for:

  • reinforcing the right hand (RH) in patterns (on occasion)

  • reinforcing the right hand in stylistic gestures (for example: dynamics, nuance, accentuation, subito changes)

  • fermatas

  • preparations

  • releases

  • cueing

  • shaping phrases

  • giving crescendos and diminuendos

  • balancing parts

  • turning pages.

Independence of hands is essential.

The key to achieving this is to have all right hand beat patterns thoroughly ‘locked in’.

When the left hand is not being used you can place it near your waist in front of the body, or resting lightly against the left side of the rib cage. The hand should be relaxed and open. In this position the left hand has a neutral look, giving no ‘signals’ (body language).

The ‘look’ of the left hand is very important as it plays a huge role in sending appropriate messages to the players. These messages or signals must correspond to and agree with the signals conveyed with the right hand.

Try the following with your left hand whilst conducting standard patterns:

  • form a fist (anger)

  • point your finger (cueing)

  • give a gentle ‘chopping’ motion (another form of cue)

  • imitate cradling the head of a baby (fermatas) in your left hand

  • extend your left hand out from the body and imagine you are ‘pushing down’ sound (diminuendo)

  • extend your left hand and ‘lift up’ sound (crescendo)

For the left hand to be significant it should not be overused, particularly in relation to ‘mirroring’ the right hand. Sporadic use increases its significance.

When engaging the left hand it is important to let it be ‘boss’. As you bring the left hand into play, bring your right elbow back behind the body in order for your left hand to be in front of the tip of the baton. This gives the left hand more strength in what it is trying to convey.

Exercises to promote independence of hands

Stephen Williams
Conducting exercises intended to give practise using both right and left hands in various time signatures by Stephen Williams
Conducting exercises intended to give practise using both right and left hands in various time signatures by Stephen Williams
Conducting exercises intended to give practise using both right and left hands in various time signatures by Stephen Williams

Cues

Cues assist performers in making precise, confident entrances.

A cue should be given for:

  • solo and sectional entrances

  • entrances that follow long rests

  • the beginning of any important musical event

  • any other situation in which a cue would help a performer with a difficult entrance.

The procedure for a cue is similar to that for any other preparatory gesture and entrance.

  • All cues should be preceded by eye contact to prepare the cue for the players.

  • The preparatory gesture is given beginning on the beat that precedes the entrance.

  • The preparatory gesture must indicate the kind of attack, dynamic level, style and expression you desire.

  • The conductor must have a positive, supportive facial expression that is a reflection of the style of the music being conducted.

  • Reminders for cueing may be pencilled neatly into the score to provide consistency in rehearsals and performance. An inverted L works very successfully.

  • Most importantly, INSIST that your players acknowledge your cues. If they are not watching, what is the point of cueing them?

Determine the type of cue to use by the character of the music, the location of the musicians being cued, and the number of instruments or parts entering.

A cue may be given by:

  • The right hand only, with special attention to making the required preparation and entrance beats distinguishable from the regular beat pattern.

  • The left hand only, independent of the right hand beat pattern.

  • A head motion

  • Combinations of all three.

The position of the fingers and ‘look’ of the left hand is very important when cueing. The fingers should be held close together in a natural cupped shape. Work to keep the left hand relaxed and natural in appearance.

Exercises in cueing

Practise cues in all the standard beat patterns.

  • After establishing a regular pattern, give cues on the various beats.

  • Practise cueing imaginary players around the ensemble.

  • Also practice in 6, 5, 7, 9 and 12.

Music ensembles concert 2020 - NSW Public Schools Secondary String Sinfonia in rehearsal with conductor
Music ensembles concert 2020 - NSW Public Schools Secondary String Sinfonia
Stephen Williams
Cueing exercise intended to give practise cueing on various beats of the bar by Stephen Williams

Revisit the previous hand independence exercises and practice your cues (left hand in particular) on each hand change indication.

Dynamic indications

Conducting gradual changes in dynamics is accomplished through use of an independent left hand in combination with mirroring the right hand.

Mirroring works best when reinforcing downbeats, accents and sudden changes where the left hand can add impetus.

Do not get into the habit of the left hand mirroring parts of the pattern merely to give it something to do.

A metronome is a must for every conductor!

For independence of hands when effecting a dynamic change, practice the following exercises to a slow count: (from Hunsberger and Ernst: 1992).

a. Extend the left hand in front of your body, palm up.

  • Hold in the extended position for 4 beats

  • Gradually raise the hand for 4 beats (imagine you are lifting a weight)

  • Hold in the upper extended position for 4 beats

  • Lower, palm down, for 4 beats (imagine you are pushing the sound down)

b. Repeat the exercise with a count of 6 and then 8 beats. Concentrate on making the motion smooth and flowing.

c. Repeat the above without the hold positions.

d. Conduct 4 beat patterns with your right hand while practicing exercises a. and c.. Practice until both hands can be used independently and smoothly.

Practise the following exercises:

  • first with the right hand only (from a very small tip of the baton movement to full broad gestures)

  • practise using the left hand, ‘lifting’ sound with an upward movement of the hand and arm, followed by a diminuendo with a downward movement ‘pushing’ sound down

  • try with both hands.

Try to keep the left hand looking natural and relaxed.

You can also practise this exercise using a variety of contrasting tempos. Remember the following regarding dynamic indications:

  • loud - large beat pattern from the shoulder

  • medium - medium beat pattern from the elbow

  • soft - small beat pattern from the wrist.

Stephen Williams
Conducting exercise intended to give practise in executing crescendos and diminuendos by Stephen Williams

Try these 2 more advanced exercises indicating dynamic shape with the left hand as the right hand patterns get larger and broader in crescendos and smaller and more intimate in diminuendos.

'Elsa’s Procession to the Cathedral' by Richard Wagner
Conducting exercise intended to give practise in executing crescendos and diminuendos based on a theme from Elsa’s Procession to the Cathedral by Richard Wagner
'Salvation is Created' by Pavel Tschesnokoff
Conducting exercise intended to give practise in executing crescendos and diminuendos based on a hymn ‘Salvation is Created’ by Paul Tschesnokoff

Short increases and decreases of dynamics can be successfully negotiated with the up and down movements of the left hand. Longer crescendos and decrescendos need to be handled differently.

When affecting a longer crescendo for example, the right hand pattern gradually gets larger, both in height and in width.


Diagram of the right hand pattern gradually gets larger, both in height and in width.

The left hand reinforces this similarly by an increase in breadth and height commensurate with the right hand without necessarily mirroring (ideally) every part of the pattern.

Practise the crescendo and diminuendo using a combination of left hand ‘lifting’ sounds and mirroring.

Stephen Williams
Conducting exercise intended to give practise in executing crescendos and diminuendos by Stephen Williams

Sustain and release

The left hand is very useful to reinforce and define sustained notes (fermatas) and phrase endings. Again, as long as there is movement in the hands (be it ever so slow and slight in some cases) there should be sound. If there isn’t then you are not clear enough!

The style of the releases must be in the style of the music (for both hands).

Practise using the baton hand first to refine your cut offs. Then add the left hand.

Stephen Williams
Stephen Williams
Conducting exercises to practise holding and releasing sounds in both hands
Stephen Williams
Conducting exercises to practise holding and releasing sounds in both hands
Stephen Williams
Conducting exercises to practise holding and releasing sounds in both hands

Enjoy

Join in the fun as British conductor Rainer Hersch performs his musical comedy and stand-up with the Tasmanian Symphony Orchestra.

Comedy meets the Symphony Orchestra! - Rainer Hersch

Duration: 08:55

Enjoy this wonderful look at footage of some of the great conductors of all time.


The Art of Conducting - Great Conductors of the Past

Duration: 1:57:00

Third-party content attributions - Syllabus

  • Festival of Choral Music images, photographer: Anna Warr.