eg 4% ve of oa nh ya eee ni aas Nn SCOUA coeaRCAL Oe sig DELAVALLO RESTA wD. sep a yoh haat Preface You cannot learn to conduct an orchestra simply by reading a lot about this subject but rather by practising for many hours instead. Practice and proper guidance are essential here, Before you can even begin to conduct in the true sence of the word, with musical patterns which are visualized by gestures of the hands and arms, facial expression and other physical expressions, it is a prerequisite that you are able to beat time flawlessly. Regarding the contents of this book, it is assumed that the student is endowed with this basic skill as well as the ability to indicate the metrical path by means of gestures with his hands and arms. It is of prime importance that the student knows how the live sound relates to gesture learned. Now, the merit of this book is precisely this, since it deals not only with various aspects of the technique of beating time but also with naturel and practical examples of sound in particular, Pierre Kuypers, whom I have had the pleasure of working with in the educational field for many years, particularly educating conductors, knows better than anybody else how to link theory with practice in a natural way. His vast practical experience in the fields of amateur art and professional conducting, both at home and abroad, ts reflected in this book. Therefore, some exercises are based on existing fragments from music literature. All exercises bear evidence of being naturally embedded in practice. Artificial examples which are out of touch with actual practice have been avolded in this book. Exercises are not intended as a programmed course with an increasing level of difficulty, but each of them is a self-contained and fine example of clenched musical energy of varying shape. All aspects of beating time and condueting are dealt with, including starting, stopping, accelerando, ralléntando, fermatae, legato and staccato, dynamics, agogics, time changes etc. Although alll exercises are based on an integral approach, the exercises with the A-items are intended to draw specific attention to an expressive melodic pattern set in relief from a balanced dynamic. In the exercises with the B-items, specific emphasis is put on time changes and rhythmicality. In the C-items, all aspects are combined integrally. Tean sincerely recommend these exercises in conducting, They are highly suitable for any student - amateur or professional - who wants to learn how to let the live sound flourish in other people and how to bring the excitement, wilfulness and fascination of music to living reality by his suggestive gesticulation. ‘Leon Adams General director ‘Kreato” school of music, Thom, The Netherlands,amacune Ome la we Po cresc. f i > ral. ff oon « re Sab diiridan f Poco a poco accellerando accel. fa d=z12 d. =96 dei * 3 B216a Tempo giusto fe ae f - ub, p10aJ=488 13a 6 MB16a J = 12&0c0 rubato =p crese. epocoapoco accel. f J 2152 7 ‘MB2117a J=486 cresc. poco ri. B21 PS. Re ce, cen ee se es ee ee20a crese. ft 21a d=+102 Tempo di Rhumba f P cresc. Fi 9 MB21=472 2112 d. 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