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Meters
Divided

5-l

Symphonyno.T, first movement

LI

J. Ilernru

The preparatory beat in divided meter should be the value of the smallest unit you are actually beating. In this excerpt, it is an
eighth note. Here, the prep is the count of eight in Adagio tempo,forte, and separated.Conduct a four-pattern, pulsating twice
on each count to articulate the eight beats.Think: l.I,2-2,3-3,4-4; stroke-wrist,stroke-wrist,and so on. Refer to Chapter 5,
Figure 5-1. Employ the left hand to signal the subito style changesfromforte-mnrcato to piano-staccato. Vary the size and style
ofyour conducting pattern. See Chapter 9, Subito, contrasts and Figure 9-1.

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149

Divided Meters

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5-2 Prchrlt' itt G L4ittor

Concluct a divicledthree pattem, pulsating hvice on each connt of a thlee patterr to afticulate the six beats.Note that the sec<rnrlarvaccentsfall on beats l, 3, and 5. The quarter note gets one beat, so r.rseA quarter-note-lengthprep. Think: l-1, 2-2,3-3:
stroke-s.rist. stroke-unist. stroke-ruist.

Grave
a

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150

Musical Excerpts

5-3 Military Symphony,secondmovement

F. J. Gossrc

Conduct the German or Italian six pattern, since the secondaryaccent falls on count four. See Figure 5-1. Since the eighth
note gets one beat, conduct an eighth-note's worth of prep. Use your left hand to signal the subito d;'namic changes.

5-4 'Ye Banks and BraesO'Bonnie Doon"

P. Gnerucrn

A beautiful folk song setting for you to conduct with phrasing and expression. Keep alegato flow in the four phrases. The contrasting B section builds intensity with dynamics, an active bassline, and more dissonant harmonization. It also builds tension
through an intensiffcation of tempo and then a broadening of tempo at the climax. The last A section releasesthe tension. I believe Grainger used the question mark and parentheses (slightly faster?) to implant the idea of subtle tempo intensification and
to keep the fess sensitive conductor from giving an out-and-out accelerando. This composition can be conducted in a flowing
two, although the intent here is to demonstrate the technique of a flowing six: 123456, stroke-wrist-wrist, stroke-wrist-wrist,
where both the stroke and wrist motion must be subtle and not chop up the flow of the line.

Slowly flowing

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Usedby permission.

Musical Exceryts

152

G. Brzrr

5-5 Symphonyno. I in C Major,secondmovement

To beat nine, use the three pattern pulsating three times on each count: 111222333, stroke-wrist-wrist, stroke-wrist-wrist,
The voicing of
stroke-wrist-wrist. Conduct ih" ,rrrui"" with the left hand, and cue the entrance on beat six with a head nod.
Afparts is based on the original orchestration. See ifyou can achieve balance during each altack,crescendo' anddiminuendo'
melody.
oboe
expressive
the
beautiful,
ier mastering this introdirctory passage,conduct excelpt M-I4, which continues with

Adagio

a)

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Divided Meters
5-6 TlteRotlalFirercorks
Mttsic,"Alla Siciliana

153
G. F. Hlxnrl

The flow of this Inusic is maintained by the use of wrist only ol the secondarybeatswhen conducting in 12 nleter. Use a four
pattenr witlr three pulsationson each beat placernent:111,222333444,stroke-wrist-rvrist,stroke-wriit-wrist, and so on. Indicate clearly the beat position in the basic pattern, but rnake your pattern flow instead of chop.

Molto tranquillo

154

MusicalErcewts

5-7 "Greensleeves"

T[,lomoN.lr

A lovelysongto singand phrase.Althoughthe musicmaybe expressed

better by alegatotwo pattem,you can keepit flowing
in sixat a slowertempoby usingwrist only for the secondaryaccents.Think: 123456,stroke-wrist-wrist,
in a
stroke-wrist-wrist,
legato, expressivestylewithout too much emphasison the stroke.Preparethe effectivesubitoforte (mm 9 and 13) with a
phrasereleaseand aggressive
upswingprep. Useyour left handto indicatethe diminuendn.

Andante

(in 6)

las,

my love,-

have lov

ed

you

you

do

me wrong-

so lonf-

to

cast

de

light

n -?

me off-

mg

rn_

cour - teous - ly,

dis

your

And

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was

all

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my joy,--

sleeves-

was

my

de - light.

:
:

Green - slevees wag mv

heart

of gold-

and

who

but My

dy

Green - sleeves.

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155

DividedMeters

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5-8 "Drink To Me Only With Thine Eyes"

TnepmoNlr

Conductthis settingof the "Old EnglishAir" asa slow,expressive

song.Useyour imaginationand makemusic:Intensif the
reiteratednotes.Use"push-on"phrasingin the A sectionsand "hanging"phrasingin the B section.(Referto Chapter11,
Rubata.)Payspecialattentionto the contrastingB section.For a more expressive
and interestinginteqpretation,bring the new
materialforwardto emphasizethe tensionand contrastofnew ideas.The lyricsdatebackto the third-centurypoet, Philostratus of Athens,with Englishtranslationby Ben ]ohnsonin 1616.

Andante

3
t,
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np
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Drink to
me
Or
leave a

on
kiss

Iy
with

with
in

thine eyes,
the

cup,

and

and

I'll

will pledge
not

ask

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I'
156

Musical Excerpts

5-9 "BeautifulDreamer"

S. Fosrrn
Althoughthis traditionalstephenFostersongmaybe interpretedbest
usinga legato_threepattern,
you can keepit flowing in
nine at a slow,-expressive
temPoby usingthJwrist only for'the beat divisio?s.conduct l234567ggwith
a stroke-wrist-wrist
legato fTotxt,
following the beat points of a'three pattern.

Slowly and expressively (in g)

I
I
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T
T
T
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T

Beau- ti - firl dream

Beau- ti - firl dream

Beau- ti - fiil dream

r,

Beau- ti - ful dream

Wake un - to

De,

and

dew- drops are

wait - ing

for

T
T
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T
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I

Wake un - to

me,

Star- light

and

dew- drops are

Wake un - to

me.

Star-light

and

dew-drops

Wake un - to

me,

I
I

are

for

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157

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Sounds of the rude

heard in the day,

Sounds of the rude

heard in the day,

Sounds of the rude

heard in the day,

Sounds of the rude

heard in the day,

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Lull'd

by

the moon- light have

Lull'd

by

the moon - light have

all passed a

Lull'd

by

the moon-light

all passed a

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J

have

J,

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have passed

way!