The craft of conducting – the basics
Video 8 – Asymmetrical patterns
Teacher music resource developed by The Arts Unit
Video 8 and supplementary materials
In Video 8 Stephen explores big beats and little beats – prioritising is a conductor's responsibility; you have to decide what is right for the music, for the players and for you!
Watch the video 'Asymmetrical patterns' to learn more.
Asymmetrical patterns
Video 8: Asymmetrical patterns
Duration: 18:56Asymmetrical patterns - 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.
01:34 - Sub-divided meter patterns a recap.
01:50 - Big beats and little beats defined
02:12 - Big beats demonstrated
02:38 - Little beats demonstrated
03:09 - The conducting framework
04:09 - In 6 – little beats (revision)
04:41 - Ye Banks and Braes by Grainger -
the pick–up (revised)05:40 - Ye Banks and Braes in 6 (with music)
07:06 - Ye Banks and Braes in 2!
08:08 - 5/4 (2 groupings)
08:44 - 5/4 (2 plus 3)
09:25 - 5/4 (2 plus 3) with music
10:30 - 5/4 (3 plus 2)
11:16 - 5/4 (3 plus 2) with music
12:24 - Conducting in 7
12:45 - 7/8 or 7/4 on the whiteboard
13:20 - In 7 (3,2,2) with music
14:39 - In 7 (2,2,3)
15:02 - In 7 (2,2,3) with music
17:00 - Everything’s Alright! in 5
17:30 - Everything’s Alright! in 2.
Asymmetrical metres
Efficiency and clarity are paramount when conducting asymmetrical meters. They usually involve ‘floating’ gestures (smaller versions of the one in a bar pattern). As a consequence, it is important not to enlarge or exaggerate or complicate the floating gesture. This can result in you being less than metronomic for your players/singers!
This 'floating' gesture shouldn’t be larger than the other beats around it but should last longer in time (of course).
To ensure that the time doesn’t move when negotiating changing time signatures, try ‘tongue-clicking’ your way through the music. This internal subdivision is done by lightly saying a silent ‘tu’ syllable with the tongue on the ridge behind your upper teeth to the beats of the bar as you are conducting (mouth is closed and no sound is required but you can physically feel the beats and/or subdivisions).
Conducting in 5 examples
Conducting in 5
(2 and 3)
Conducting in 5
(2 and 3) - legato
Conducting in 5
(3 and 2)
Conducting in 5
(3 and 2) - legato
Time beating in 5 (2 and 3) in little beats in an overarching 2 pattern
Time beating in 5 (3 and 2) in little beats in an overarching 2 pattern
Time beating in 5 in little beats (combination groupings using an overarching 2 pattern)
Conducting in 7
Conducting in 7 (3 and 2 and 2)
Conducting in 7
(3 and 2 and 2) - legato
Conducting in 7 (2 and 2 and 3)
Conducting in 7
(2 and 2 and 3) - legato
Conducting in 7 (2 and 3 and 2)
Time beating in 7 (various groupings) in little beats using an overarching 3 pattern
Changing metres
In each of the following 5 examples, analyse where the appropriate stresses will be to determine the beat groupings and consequently the type of overarching pattern you will conduct.
Enjoy
Leonard Bernstein was an American conductor, composer, pianist, music educator, author, and humanitarian. Among the most important conductors of his time, he was also the first American conductor to receive international acclaim.
Enjoy watching the following 2 videos of Bernstein in action and reflect on the control he had over an orchestra. It's very interesting to see how his technique had subtly changed over the years! Which Bernstein do you prefer?
Bernstein Conducts Overture to Candide, New York Philharmonic
Duration: 05:50Candide Overture: Leonard Bernstein conducting
Duration: 04:41Third-party content attributions
"File:Leonard Bernstein by Jack Mitchell.jpg" by Jack Mitchell is licensed under CC BY-SA 4.0.
The Arts Unit music festivals images, photographer: Anna Warr.