Communicating to Your Players through Conducting (Part 1)

The last series of articles dealt primarily with conducting patterns and your "baton" hand. Well, it's time for the rest of your body to catch up!

Move with the Music

Believe it or not, your players can pick up on your emotion for the music by watching you. If you want your players to play with emotion and you're standing like the Statue of Liberty (no offense to the grand lady in the harbor), how do you think they will respond? I think you already know the answer…

· Move your feet - Do not stand as if your feet are embedded in concrete. If you have an important cue for the flutes on the left side, move toward them. You might even tap your foot, if appropriate. Soapbox Time: Caution your players to not tap their feet to keep time. They must watch you for time, especially the rhythm players (including the pianist). There can be only one timekeeper, it is you, and that's why you get the big bucks!
· Bend your knees - Three reasons; 1) Makes you shorter or taller for sudden changes in dynamics, 2) You will be more relaxed, and 3) Locking your knees over an extended period of time may cause your legs to give out.
· Use your elbows - Moving your elbows toward your body and away from body can aid greatly in dynamics. Pull elbows in for decrescendos, quick tempo and quiet passages, elbows out for crescendos and full-bodied sound (loud and big).
· Twist and/ or bend at your torso - Twist at the waist for cueing and long conducting patterns (rallantandos as well). Bending is more suitable for dynamic changes, mostly decrescendos.

Do you have any additions for this list? I'd be happy to hear from you. Email me at skirby@idlewild.org or Bob Burroughs at Bbur65@aol.com

Communicating to Your Players through Conducting (Part 2)

Facial Gestures

Facial expressions are good barometers as to what you are conveying to your group. You can show confidence, tenderness, affirmation and boldness. At the same time you can also show disorganization and panic (trust me on this one). Make sure you are prepared for rehearsals and worship services... Internalizing a piece of music allows you the freedom to add a great deal of emotion to it... Watch other directors, either on TV or in person, and study their facial communication skills.

· Eyes - The eyes, including the eyebrows, can bring incredible emotion to a piece of music. Eyes wide open or closed, eyebrows up or down can bring out great emotion from your group.
· Head - The head can be used for dramatic downbeats (up and down) and gentle passages (side to side).
· Mouth - Frowns, smiles, grimaces and funny faces can deliver a specific message to your group. Frowns: Sardonic or melancholy sections; Smiles: Joyful sections of music or as a compliment to the group (or a person) for a job well done; Grimaces: Used for tense passages.

Communicating to Your Players through Conducting (Part 3)

Here are a few practical tips that will help you communicate the music more effectively:

· Use your left hand (or non-baton hand) sparingly. Do not mirror direct (using both hands to conduct meter) all the time. Your left hand should be used for emphasis, such as cueing and cutoffs. Note: I realize that there are times you must mirror direct because of your setup in the rehearsal room or in the worship center. Many church buildings were not designed for instrumentalists other than a pianist and an organist. Work towards moving players into appropriate positions. Doing so will make rhythms "tighter" and allow you to make "music" instead of just playing notes.
· Constantly look ahead in the music. Do not be "caught by surprise". Knowing the music, studying the music, mapping out difficult sections and practicing your part before rehearsals and services can eliminate the panic you feel (and will show) when leading.
· 90% of your communication with your group during rehearsal should be non-verbal. That means you should communicate verbally only 10%. Your players are there to learn and play their instruments to the glory of God, not to hear you wax eloquent. Plan out the times when you will speak in rehearsal. Try singing their part or rhythm when they are having difficulty instead of talking.

Communicating to Your Players through Conducting (Part 4)

I've spent several weeks on improving your conducting skills. You may be asking, "How is this going to help grow my instrumental group?"

· Your excellence will bring excellence out of them. Excellent players are drawn to excellence (numerical growth). The Lord expects our best; so let Him see it in you!
· Your confidence in direction will give them confidence in playing. This is called "leading by example". Be an example to them and they will follow (musical growth).
· Your group will look to you first for their musical needs. When they have confidence that you can meet those needs, they will begin to open up and share emotional and spiritual needs with you (spiritual growth). Your players might even invite a lost friend or coworker to rehearsal for the purpose of reaching them with the Gospel and ask you to help lead them to Christ (first-hand experience). What an awesome opportunity and responsibility! Don't miss out on God's blessings!