Rohan Joshi

Prof. Leclair

Intro to Conducting 2

17 April 2020

Conducting Reflection #1

This week I had to prepare Stravinsky’s Soldier’s Tale, perhaps one of the most notorious

works to conduct because of its constant shifting time signature and pulse. While preparing I

devised my own means of dividing the larger beats into two’s and three’s, and as such, when

Prof. Leclair showed me her method, which I realized was more effective, I had to swap to doing

them on the spot. This actually showed me many things – the connection between baton and beat

is very significant in this work. Every ictus that is shown to indicate each large beat or bar is

crucial. Every part of the work must be internally subdivided and counted accurately to be able

to conduct every measure evenly. As the worth is rigorously rhythmic, it is important that I (as

the conductor) maintain the drive as evenly as possible. Any wavering in tempo will make it

almost impossible to be able to remain a reference point for the musicians. IN case a musician

needs “saving,” it is also important that I remember where I am in the bar.

I also noticed that more so in this work than others, it is important to auditee or at least

intimately be familiar with the melodic contour. While it is possible, but likely difficult, to be

able to in the rhythmic groove, staying with the primary melodic voice or voices will keep me in

the proper part of the piece. Staying ahead of them in my head, is crucial in this work. When I

think about the measure before the instrumentalists play, I can compensate for any small

fluctuations that each of the individual players may have.