51

ChapterIV

Cueing and Use of the Le-ft Hand - - - -

The use ofthe left hand in conducting is as unique _and diverse as a personal signature. No two
people write in ex~ctlf the same ~anner. ~he same is true with the infinite gestures available to the
left hand in estabhshmg conductmg_ techmque. Movements range from mirror conducting the right
hand, to the most refined, su~tle, mmute finger _motions. Motions and gestures are as individuálistic
as finger prints and op_enly displayt?epersonahty of the conductor. It is here that the conductor
must wear his/her feehngs on the sh1rt sleeve for everyone to see.

The left hand is visually responsible for any one, or combination, of the following items:

1) cueing

2) expressing dynamics

3) illustrating style (articulations)

4) enhancing the mood (intensity vs resolution)

5) shaping the phrase

6) beating time (mirroring the right hand)

To execute any of the above techniques the left hand must possess a great deal of independence
from the right hand. Performing daily routines like brushing teeth, combing hair, eating a meal,
driving a car, carrying on a normal conversation involving physical gestures, and writing a note
are things subconsciously done with the favored right hand. It is a "right handed" world.

An easy way to gain independence in the left hand is to conscientiously perform sorne of the above
routines with the left hand, as awkward as they may seem at first. As time passes these simple
movements will begin to feel more natural and easier to accomplish.

LEFT IIAND CONDUCTING

~e!ng left handed in a right ha.nded world can be extremely frustrating. There are varying
ornions regarding conducting the basic time patterns with the left hand if a person is left ha~d-
e · The transition to conducting with the right hand is less stressful if done early in the learnmg
process.

To make
meth d th e convers1on
. for left handed people to conduct w1t
. h t h e ng
· ht h an d , em ploy. the simple
feel' o of m·irror conductmg
. m. the early stages of beatmg
. t h e time
• pa tt erns. This w1ll create a
ing of equ r . . r 1 fi t bl andftsecure, set a
moderat t ª ity In both hands. As soon as this techmque 1ee s com or ª e h nd still for one
1
rneasur/ ~~po and conduct basic patterns while alternating hands. Keep !h~ e O ~no movement),
w I e the right hand conducts the pattern. Count a measure of re st m emp
 52

then conduct a measure of t ime with the left hand while keeping the right hand still. Repe
process until it becomes comfortable. at th¡8

Gr~dually elimina te the measure of rest by diminishin~ t~e number of ~eats it contains unt¡¡ i .
poss1ble to conduct from one hand to the other without m1ssmg a beat. This p~oce~ure allow 8 thet _is
vidual time to think as well as make mental and physical adjustments. Keep m mmd that the ¡ 11ld¡,
beat in the hand conducting the pattern will also be the preparatory beat for the hand that is a: st
reat
Left handed people should practice this routine for extended periods, gra~ually increasing the ·
number of measures the right hand conducts and decreasing the measures m the left hand. 1f p
ticed on a regular basis this procedure will eventually lead to a comfortable transition to the rig~~c-
hand as the primary conducting hand. It will also give a left handed i:ierson ª.head start_on usin
already independent left hand to develop gestures displaying express1on and mterpretat10n. g the

LEFT HAND PLACEMENT

When the left hand is not in use it should find a comfortable resting place. This place is slightJy
difTerent with each person due to physical make-up. The rest position of t~e hand ~h?~ld not attract
attention when not in use. A strong consideration for left hand placement is access1b1hty. The left
hand should rest in an area that is not distracting, non-obtrusive, unoffensive, and easily accessible
for immediate use. A position that works well is putting the "paddy" part of the thumb and the first
joint of the index finger together while letting the middle, ring and pinky fingertips lightly touch the
heel of the palm. In this position, place the hand approximately 1" away from the solar plexus, breast
bone area. This setting allows the hand to move freely and quickly to any needed position,
perform the necessary gesture/movement, and return with a minimum amount of effort and
confusion.

Placing the hand on the stomach (as if becoming ill), allowing the hand to hang at the left side, or
moving the hand airnlessly in space are all situations that should be avoided. It is necessary to deve].
op a working physical vocabulary for the left hand. It should portray a posture of sensitivity, artistry
and enhance the beauty of the mu~ic.

IMPORTANT

When working left hand exercises it is important to take one beat of time as
f/fll __ , a preparatory beat in moving the left hand from a resting position to a ready position.

Th~ rote exercises below will heighten the awareness of left hand flexibility and independence.
Pract1ce these exercises on a regular basis beginning with a MM = 60 befare working the musicaJ
examples that follow.

Rote Exercise # 1 - Bringing the Left Hand In and Out of Time

1) In "l ", conduct 4 beats of time (downbeats) with two hands followed by 4 beats of time
with the batan (right hand) only (left hand returns to r~st position)

2) In "l ", conduct 3 beats of time (downbeats) with two hands followed by 3 beats of tirne
with the batan (right hand) only (left hand returns to r~st position)

3) In "1": conduct 2 bea~s oftime (downbeats) with two hands, followed by 2 beats oftirne
with the batan '(nght hand) only (left hand returns to rest position)

4) In "l ": conduct 1 bea~ of time (downbeat) with two hands, followed by l beat of time
w1th the batan (nght hand) only (left hand returns to rest position)
 53
. exercise are infinite substituting "2", "3", "4", etc. for "l"
. tio»s on th1s rd beat. ' and the word
\f¡¡ílll ( )" for the wo
"(11 e11sure s n .. .., conduct 2 "measures" of time
. . two hands followed b
with
2 (right hand) only (left hand returns to rest position). 2 "m ,, .
E)(AtvlpLE · tand y easures of time
. the baton
w1th

crJEING . .. .
. takes on numerous 1dentities. m. the overall
" d .development of conducting tech mque.
· euemg
•
cue1ng to the same charactenst1cs as 1oun m the preparatory beat. A cue should I b
adhere d . kº a ways e
gestures . Jationship to the tempo, ynam1c mar mg and musical style. It should also designate
executed 1~ relaying and on what beat. Since the conductor is a graphic representation of the music 1

:~e
who/what .18.p essential t h at he/s h e remam
mess~ge,_ it
rem111ns in
· th e "ch aracter" of t h e cue much the same way an actorª
· m
"character" of the person being portrayed. The main reasons far employing cueing ges-

tures are:
1) to alert performers of an approaching entrance

2) to assist performers with an entrance after having an extended number of

measures rest

3) to highlight and enhance the musical motive, thematic material and or style
ofthe music
4) to visually guide performers (and listeners) through transitional sections of the music
(including tempo changes, fermati, cadenza sections, etc.)

Although the left hand is often used far direct cueing, cueing is accomplished in many different and
subtle ways. A quick glance with the eyes, a nod with the head, an expression of the face, a turning
ofthe body, the taking in of a breath (inhalation), a change in the stance, and the batan within the con-
text of the pattern, can ali indica te an entrance, the enhancement of a solo line or the acknowledge-
ment of an entire section of the ensemble.

Gestures are as unique as fingerprints or as individual as a personal signature with each personali-
ty co~ing into play during the preparation and execution of a cue. As previously stated, three impor-
tant items must be evident if a cue is to be successful:

1) the gesture be legible

2) the gesture reflect and communicate the musical message to the performer
5t
3) the_gesture include a preparatory beat (containing the five essential characteri ics
m Chapter 2.)

LEFT H.
AND TECHNIQUES
/Vhen cueing w·th h . . " 1 "or "attack"
0. the sound · 1 t e left hand a most efficient visual method of ind1catmg the re ease th st . ·
~~on. As the hav: the tips of the middle finger and thumb previously touching in e ~: :~ posi-
inrrner (ar sectio and is brought into motion (preparatory beat), the left hand palm faces/ th~s creat-
thgethe irnpress1· n receiving the cue) so the middle finger and thumb can actually separatheto release
sou nd and · on of an oriºfiice. Th1s . analogous to a voca1·1s t ope n1·11g the mou
. gesture 1s
IS executed a·irectly on the beat of the en trance.
64

Other means of executing a left hand cue include:

1) the motion of outlining a backward letter "C", inward to outward di .

(clockwise). a harder more dictating motion rect1on

2) the motion of outlining the letter "C", outward to inward direction (co
· ··
a softer more mvitmg root·ion unter·e1Ock~ I

3) straight downward motion on the beat

4) straight upward ''lifting'' motion on the beat

The follo_wing exercises are dire~ at incorporat~ng the left hand _into the cuei?g procesa. Pr .
not only with the left hand executmg the cue, but with any of the options, or combmation of opt.ªct1ee
mentioned º? the previous page as well (i:e. nod of the hea~,. e_tc.). Utiliz~ the left hand for act~~~•
on the left s1de of the ensemble and the r1ght hand for act1V1t1es on the r1ght hand side of the tiea
ble. Keep in mind that any direction is possible with either hand as long as the hands do not co;ll!,
cross. If a movement is awkward re-evaluate it to be sure it is doing what is necessary. During th e~ I
rests/silence keep the beat pattern small and centered in front of the body. Refer to the Eight Po;t
Checklist written earlier befare conducting these exercises. Also, be sure to vary the size of the patte
to represent the correct dynamic marking.
 •·
Cues 55
Ex. B-1
OnOne
Mediumslow
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mf

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111f
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A.C.
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a.c. -

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m

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B.c.
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Pno.

8
,. 56
Ex. B- 2
Adagio

c
.. 1 1 1
:
,J J .7 :

., F o: 1 r i'> u.

F F '
• • 11
1'
Bb
... u · r
E~
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p
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A.C. 1

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p - =:::::::::::
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1 ::::e--::
=.:::::::::
p, 1 J ,J 1 -
bJ ::::::::,
B.C.
1 1 1 i r r r--.c:,
..
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p

V V ,¡ o· iJ
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=
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Piano p ,.--......... o bo
---'

1
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'

c
.. J j J .J J--------1 1 1
., .,
. f 1 r r i i ~-
B~
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... o
T " V ..,..
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A • 11
f
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A.C. :::-
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f
:.....0. • 11 ::::::::
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1

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B.C.
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 57

B~

E~ -=~r==ff: _~-=--- - --=--==-

- 'lllf -

A.C. ~.~ * ~~~«--1=~ ?::--=-=-

F
·mp
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·mp ·ll(f V j

Piano •ntp
mf
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58,_ _ _ _ _ _ _ _ _ _ _ __
Ex. B- 4
OnTwo
Adagietto ,1 J .J
J J.
,. 1
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-
1
e ., 1
1 -11"
,. . 9P
BI,
., -11" - ~
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El,
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- -
A.C.
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F
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j 1
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B .C. 1

A
r
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1117'
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1
3

. ,1 J .J J J.
c
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A ,¡
BI,
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f »if'
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B .C . 91
l
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 59
Ex. B- 5
Llll'Iº
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....-=--
e p¡r- 7
p
1 1 1 11 1 1 1

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BP íl 1 1 1 1 1

p
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u
p r r r 1
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p
o a R a $ a - ~" ..,

1 -

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1 : 1 1

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A '
BP -
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1

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On Three
Ex. B- 6 -------~"""'
Allegretto

BI,

El,

A.C.

B .C.

Piano

B .C.
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Ex. B- 7 61

--------- Allaniarcia
>

l
>

_J
>

A J
J. JJ J J
:
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B~
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-
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Piano

k. > •
>
>
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Pno.

5
6
62
Ex. B- 8
OnFour
Moderately slow
,l J
e
.,,,,,
Bb
111P

Eb

A.C.

B.C.
·mp

n n j n
-
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J .J.

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Bb
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11
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F - ::::::=:--:::
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J J J .J J J -:::::::::JI
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r 1 r T
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- -
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Pno. /
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1
1
5

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6 8
 Ex. B- 9 63

.Allegro assai
:,-

B~

E~

- ---
A.C.

o .,
., ., .,
u
B.C. ..

LJ p p

J 4
2

Bb

Eb

A.C.

B.c.

Pno.
r 64

CHAPTER REVIEW/CLASS ASSIGNMENTS

l. What are the advantages and disadvantages of mirror conducting?

7
2. List the responsibilities of the the left hand.

3. Discuss the ''resting position" of the Ieft hand when not in use.

4. Why and when is it necessary to give a cue?

5. What roles can the use of the thumb and middle finger play in executing cues?

6. Why must a cue háve a preparatory beat befare it?

7. Discuss the role of the breath in preparing for a cue.

8. Discuss the numerous ways a cue can be executed. Be sure to include all possibilities.

9. Why is it important to be cognizant of the clockwise and counter-clockwise motions in

the left hand cue gesture?

10. What is common among aU the cues given in this chapter?