Let's paddle-it seems that you typed it wrong.
The scores are as follows:
/Forum/Attachment /ImVa_2a.jpg
Gesture diagram of other parts:
Triple time:/forum/attachmen
Let's paddle-it seems that you typed it wrong.
The scores are as follows:
/Forum/Attachment /ImVa_2a.jpg
Gesture diagram of other parts:
Triple time:/forum/attachment/zsiz _ 3b.jpg.
Four beats:
/forum/attachment /EqLU_4b.jpg
Six beats;
/Forum/Attachment /b3CU_6b.jpg
For details, please see this article reproduced by myself.
Chorus and ensemble command chart
Note: The author is not a professional. This post is only used to meet the needs of activities and help enthusiasts get started as soon as possible. There are biases, and professionals are welcome to correct and supplement them.
In group singing or instrumental ensemble, the conductor beats the time with a baton or his bare hands, which is called "clapping". The conductor should draw figures in space at an appropriate speed, control the rhythm, and give priority to hinting.
First, why do you need to command?
/batch.viewlink.php？ Itemid=843 "Newcomers Asking for Advice: The Relationship between Conductor and Music Score"
As deputy stationmaster Shui said, the content that a piece of music can carry is limited. How to organize a beautiful voice is the work of the conductor. Command determines the final effect, which is a watershed between classic and mediocrity.
Second, the preparatory work and chorus organization
For the needs of activities, the "command" of temporary points and the responsibility of chorus organization are more important than the obligation to place vases. You may have to face all kinds of strange ideas and messy people ... In the early days of chorus organization, there is actually not much artistic accomplishment, so it is almost enough to test your organizational leadership (enough charm).
Let's put this question aside for a while. Before you can think about how to conduct, the first thing you need is to be familiar with the music score (at least proficient in listening and recording).
Music score (or knowing it by heart) is the guy you live on, and your understanding of music determines whether you have the ability to control it. Communicate your understanding and correct emotions to everyone; Sing with your head, control the rhythm and remind with your hands.
After repeated guidance and practice, everyone understood the song tacitly, and you on the podium are the real conductor. As long as a few serious players pay attention to your command, you can control the rhythm; When you have a tacit understanding with every part of the queue, you are in control.
Even for various reasons, these conditions are not available. You can only ask everyone to sing together, sing with momentum, and you can also be everyone's vase. Since the gestures are well-behaved, no one can pick out anything (after all, experts are still a few) _
If you have time, please take a look at the specific steps provided by Yaya:
Ya ya note:
1, works analysis
The first thing a conductor should do is to study the music score and analyze his works. We are not Mozart, a song that you sing very well. You won't find yourself missing so many details unless you look at the scores!
The deeper you understand the thought, style and expression of the work, the better you will interpret and express it. Strength, speed, mood, paragraph structure, etc. , all recorded in music. Understanding and memorizing music scores is the only way for a conductor.
2. Band preparation
There are many arrangements for the position of chorus, which are arranged according to the needs of different works and the characteristics of each part.
If it is a chorus (male chorus or female chorus), at least it will be divided into high and low voices, and the number is proportional.
At the same time, the two voices sang 3: 2; Synchronous trilogy chorus 9: 7: 8; The four voices sang 7: 4: 4: 5 at the same time.
For mixed chorus (mixed vocal organizations for boys and girls or mixed vocal organizations for children), the ratio of high and low voices is generally 5: 3. The configuration of mixed voice four-part chorus is as follows: the upper left is male high, and the lower left is female high; Upper right male, lower right female. The staffing ratio is 4: 2.5: 2.5: 3.5.
Step 3 organize rehearsals
When a conductor has a well-thought-out plan, it usually takes many rehearsals to reach a tacit understanding and agreement with the group.
Formal rehearsal organization should go through the following steps: copying music score, individual practice, group solfeggio, voice practice, group arrangement, arrangement and final rehearsal.
On the premise of fully grasping the work, if possible, we should make a rehearsal plan according to the difficulty of the work, the level of chorus, the length of time requirement, the nature, scale and conditions of the performance. If time is tight, we should be good at grasping the key points of the works and appropriately increase the time of "joint training".
The purpose of personal practice is nothing more than to make everyone familiar with and understand the work as soon as possible, and it is also a good opportunity for the command to help the team members solve technical problems.
After preliminary individual practice, the conductor should organize collective solfeggio as soon as possible. The requirements for the first time and practice can be relaxed, in which the conductor should explain the work and give the chorus clear requirements.
The conductor has the opportunity to give more detailed requirements and treatment when practicing in different parts, and the problems in the parts should be completely solved in this link.
Collective harmony and arrangement are extremely important rehearsals, which need to be rehearsed again and again until they meet the requirements.
It should be noted that the process of "merging" is not easy when each voice member is familiar with his own voice. Just like a beginner who has mastered his right hand and left hand respectively, it takes some time to practice together.
The non-main melody part of amateur chorus can easily follow the main melody. At this time, you should take this part out for a period of time, and then add the rest in line with the main theme.
The voices of all parts should be harmonious and unified, so that the chorus members can pay attention to the voices of other parts. They should not deliberately amplify their voices because they are afraid of running away from other parts, so they can only sing by themselves. At this time, the task of the conductor is to control the overall harmony, and any sound that comes out will signal them to weaken.
When there is a pitch problem, the sound from the high-pitched area is harsh and unpleasant. The conductor should help the player adjust the sound production method, use overtones to reach the pitch and improve the sound effect. For example, if you want to pronounce an "A", let the player think of "ao" when pronouncing an "A", or if you can't sing, you can use falsetto. Don't shout. The voice is not only unpleasant, but also bad for your voice.
Row after row is a summary rehearsal, which requires as much as possible in one breath. The chorus can always keep performing through row after row.
The purpose of rehearsal is to let the chorus perform informally under formal performance conditions and requirements. Lighting, acoustics, stage layout, artistic modeling, etc. Will be implemented in detail. The success of the rehearsal marks the final end of the rehearsal.
As mentioned above, it is my personal suggestion for rehearsal. Generally speaking, the conductor must be familiar with the technical situation of each voice of the song and the singing characteristics of each member. Only by finding the key can we prescribe the right medicine.
Third, the attitude of the command requirements
Jing: First of all, please relax and stand up straight and high. Turn yourself into a pine tree when there is no movement.
Generally speaking, you are not tall and stand in front of the chorus. The natural back is convenient for all singers to see, and it is also convenient for singers to see the conductor. Whether the expression is gentle, beautiful or resolute depends on the situation. When appropriate, please give us appropriate hints with appropriate eyes. If you really don't know where to look, please pay attention to the button of the man in the middle of the second row of the chorus.
Feet are the foundation of standing. You can spread them out a little or move them back and forth a little, as long as you stand firm and look good. You can't walk around, shrink your neck, adjust your skirt, rub your nose, tie, and so on.
Personal suggestions for dress guidance:/thread-7309-1-1.html
Action: the main thing in command is the kung fu of the hand. Please keep calm and relax your shoulders. When necessary, just lift your elbow easily, extend your arm slightly, and raise your hand to the correct position. Don't pinch or stretch your arms at will-relax. If you still can't feel it, please fantasize about playing the piano.
Wrist and palm refer to the most dexterous and expressive parts, and are also the main tools of command. Chorus conductors, in particular, are generally unarmed. Arms, arms, even shoulders and bodies often cooperate for this "terminal". The general posture is that the palm of your hand is forward and downward, with or without a fist, and your fingers are naturally relaxed. For example, if you hold an apple, you can make any action flexibly.
Regarding the position of the hand, the right hand is usually the main one, and the main theme is mastered, supplemented by the left hand, giving tips. For example, the chorus only controls one main theme without considering the voice processing, so the left hand can be lower than the right hand to highlight the main theme; In the case of multi-voice processing, the hand should be divided into two parts. At this time, the position should be adjusted according to the timing of voice entry and exit and emotional factors, and the position of both hands may be equal.
It is appropriate to hug people in a space far away from the body, and the height is not higher than the head in front of the face or the end of the chest (normal posture). For broad and deep music, it can also be placed in front of the abdomen (low position) not lower than the waist, and it can also be lifted when the tenor is passionate, such as "cleaning the glass" (high position). The activity space of the conductor varies with the style of music, and the movements should be clear and effective, usually not too big:
Always give priority to dancing to drive the forearm. Don't shake your forearm, it's not easy to spread it out greatly-unless it's in a slow and powerful movement, when your hand can usually be opened and become opposite, so that you can have a "sexual" atmosphere.
In the action of soothing emotions, the action should be flexible and stretching. It is a feeling of "butterflies flying over" to see a weak bullet with four beats; In a tight-paced action, the action also needs to be tense and brief, so the lines and distances in the following command chart naturally become concise and direct.
Auxiliary hand:
I just said that the right hand is the main one, and the rhythm is generally my own decision; The left hand is mostly used as a hint, which is in charge of emotions and changes: it prompts different situations in different ways-for example, when Mr. Bean conducts the Christmas Orchestra, he uses his finger as a knob to adjust the volume of the orchestra out of thin air. You might as well use some hints in the case of tacit understanding with the group:
For example, if the melody line is high and the mood is full, you can lift it with your left hand; For example, when the melody line goes down and the mood is low, it is the downward inhibitory action ... There are various means, but they are vivid, easy to understand, simple and beautiful.
Therefore, the real command left hand is not idle (especially multi-voice). Please consult professionals (music performance experts, not Chinese medicine and massage experts) for specific techniques.
There's a little too much to say here. It's very simple-when there is nothing wrong with the auxiliary hand, both hands can do symmetrical and opposite actions, such as paddling with two hands is like rowing, as shown in the figure.
Ya ya note:
Whether conducting a chorus or a band, communicating with them is not just gestures, but more importantly, eyes. The addition of eyes will make your command full of vitality. Imagine how terrible it is for you to stare at your glee club! Your players will also feel uncomfortable. So the eyes should communicate with every sound-for example, when entering the preview beat, they should cooperate with the eyes and give them hints.
Karajan closed his eyes when conducting, and his band members were afraid that he would open his eyes, because when he suddenly opened his eyes, he heard the wrong notes.
IV. Schematic diagram of command method
Provide several basic common beat trends, and each beat can be divided into two styles, strong and weak, taking a single right hand as an example.
2 beats (2/2, 2/4, 2/8), strong beat, weak beat:
The basic trend is that the first beat is top-down, slightly from the inside out, and the second beat returns. In practice, in addition to clear movements, concentration and fullness, the stroke process is often smoother and more linear because of the fluency of singing.
3 beats (3/2, 3/4, 3/8), strong beat, weak beat, weak beat:
After the hitting action of the first beat goes down, the rebound action bounces up from the inside, thus connecting with the second beat to direct the action, but be careful not to cross your palms or forearms.
On the second beat, the flapping action of the weak beat is outward (slightly downward), and the amplitude is not too large, and the reflection action bounces up.
The weak beat of the third beat naturally falls back with the reflection of the second beat, the third beat moves down, and the reflection of the third beat bounces up from the inside.
Four beats (4/2, 4/4, 4/8) is a compound beat, and its periodic laws of strength are: strong beat, weak beat, sub-strong beat and weak beat.
On the first beat, keep your hands at a proper distance and clap your hands downward. The reflex action will bounce naturally with the clapping action, so be careful not to lean out too much. The reflex action of the first beat has actually become a preparatory action to command the second beat.
The second beat is weak, and the command action is on the inner side of the first beat, so the amplitude of the stroke action is reduced accordingly, and the hands cannot cross when reflecting, at most, the palms overlap slightly.
The third beat is a strong beat, the flapping action goes to the outside (slightly downward), and the reflection action bounces up.
The fourth beat is a weak beat. As the reflection of the third beat naturally falls back, the fourth beat goes down and the reflection bounces up from the inside.
6 beats (6/2, 6/4, 6/8), strong beat, weak beat, weak beat, sub-strong beat, weak beat, weak beat:
The first beat is a strong beat, and the reflex action bounces up, not too oblique to the outside.
In the second and third weak beats, the command action is inside the command action in the first beat, and the range of action is obviously reduced. Be careful not to cross your hands.
The fourth beat is the second strong beat, the flapping action is carried out to the outside (slightly inclined downward, pay attention to controlling the action range), and the reflection action bounces back to the inside.
The fifth beat is weak, the action amplitude is obviously reduced, the flapping action is slightly tilted to the outside, and the reflection action bounces.
The sixth beat is a weak beat. With the reflection of the fifth beat, it naturally falls back, and the sixth beat goes down, and the reflection bounces up from the inside.
Special beat:
Pentaphone is a mixed beat with two combinations.
Two beats+three beats are strong beats, weak beats, sub-strong beats, weak beats and weak beats:
Three beats+two beats are strong beats, weak beats, weak beats, sub-strong beats and weak beats:
Seven beats are also mixed beats, and there are three combinations.
Two beats+two beats+three beats are strong beats, weak beats, two strong beats, weak beats, two strong beats, weak beats, weak beats:
Three beats+two beats+two beats are strong beat, weak beat, weak beat, second strong beat, weak beat, second strong beat, second strong beat, weak beat:
Two beats+three beats+two beats are strong beat, weak beat, sub-strong beat, weak beat, weak beat, sub-strong beat, weak beat:
Illustration:
Shoot: it doesn't matter if you don't understand the lines, the key is to shoot-shoot! Controlling the rhythm depends more on grasping the beat point than waving the rhythm with action. 2 beats like rowing, two positions, 4 beats about four positions ... The positions of the beat points provided in the picture are not fixed. The so-called "beat" is the action like the sound of four fingers bouncing. Just beat the point on the pronunciation beat, not pull it over.
The more unfamiliar you are with the work, the more you should emphasize the clear beat point. The conductor then changed the accompaniment tape and became the scale of speed.
Reflection line, melody line and action design;
One beat is a journey. After clapping, you have to go back to prepare for the next clap, or in order to start the next clap, this action is called "reflection" or "rebound", because there are so many circles on the screen. The reflection action is used to reach the beat point smoothly first. If your wrist is relaxed enough, of course, you should memorize the beat points-the movements will be smooth and natural; For example, in a cheerful song, this trip is really "jumping".
As you know, the high and low amplitude, strength and speed of action are closely related to music (so-called "melody line"), so the position of the beat point and the direction and amplitude of the reflection line will change according to the mood. Here, the significance of this kind of reflection action is that it can provide a "sign": a real conductor's yang hand often contains the mode, strength and speed of the next beat ... For example, if the next note is high, the conductor will reflect to a high position after the previous beat to take the next beat; For example, if the next beat slows down, the previous reflection action will take longer. ...
Do you still remember the transformation of command posture and technology mentioned earlier? (Playing the piano, dancing butterflies, cleaning the glass ... _) With the change of height and strength, a conductor's actions are rich and profound.
On the one hand, the specific situation of the song determines the choice of action. On the other hand, how to make the movements reasonable and expressive requires careful consideration and hard practice. The conductor always gives the impression of enthusiasm and chic. If your movements are busy and uncoordinated, you should consider what is unreasonable.
If you don't have time to go through this, make time. A person who can "beat time" also left dance and broadcast gymnastics. ...
There is a cool action that karajan likes to do-gliding: when the music is soft enough, don't use those angular circles, just "fly" your hand to the beat point like an airplane. ...
What I want to say is that the omission of beat points and the simplification of movements are closely related to the performance of the works, and are also based on tacit cooperation and mastery. Similarly, there are also "active shooting" and "passive shooting" (real shooting and virtual shooting). However, most readers of this post may wish to take her as the research object, so don't try it easily for the time being.
To sum up, command action is nothing more than points and lines, beats and signs-however, various means of expression are not isolated. The study of conducting art is how to organize points and lines accurately and beautifully to describe a work completely. ...
Ya ya note:
Although for beginners, the command action can only be "doing broadcast gymnastics". However, it is necessary to select and design actions.
We must choose and design command actions according to the content and requirements of the work, and vividly convey the ideological content and requirements of the work to each member through various command languages, so that the work performed can be properly explained and expressed.
Fifth, prepare! Predict and start shooting
Please grasp the beat in the prelude, raise your hand and pose at the beginning, and concentrate together-prepare for the action: "Take a deep breath! Ready to sing! "
The first action is often so sudden that the chorus is caught off guard, so we need to add a small prompt action before the official beat-predicting the beat.
The so-called foreshadowing is usually a small stroke in the opposite direction to the formal action before the first sounding note. For example, if the first action is to the right, then the preview is to drift to the left first, and then "reflect" the first formal action-the technical term is start.
Chorus needs to start from the beginning. If there is an intermission divided into two sections, you need to stop and start again in the next section. The start time is not very strict. If everyone is insensitive, as long as we grasp the beat well, we can achieve the purpose of prediction and practice more. Don't be nervous when predicting the beat, sing. ...
Note: Generally speaking, the start and end actions will not reach the beat point of the formal action-also to avoid misunderstanding.
The starting beat is divided into strong beat and weak beat. Most songs start with a strong beat, which really means "the first beat is strong" as explained in the picture, so there is no doubt that if you start with the action of the first beat, the last sound of a bar will be beautifully collected.
And some songs we will encounter the so-called "incomplete bar", the first beat is not strong! If you still play from the first beat, then after a period, you will find it confiscated. The result of continuing to fight is that the bar is completely out of order.
Because such songs are "weak", they should not be strong first. Simply put: start from the place where you started singing ... for example, a song with two beats, if the first pronunciation beat is the second beat of this paragraph, then "enter ahead" and start from the second beat (inward), then the next paragraph will be normal ... The incomplete part at the beginning of music is usually handled like this.
There are many complicated situations in the "complete" and "incomplete" parts, such as encountering a rest and an extended mark. Not much to say here, welcome targeted discussion and supplement.
Ya ya note:
The prediction mentioned above should be taken seriously. In fact, the research command is to study prophecy. Every beat has an omen, and every beat is an omen of the next beat.
If you want the director to take a strong shot, you must strengthen the strength of the previous shot (speed up and the reflection line is elongated). A highly professional chorus member can easily understand the meaning of your actions. This is usually a good rehearsal for your chorus.
Abbado's conductor is very agile, and his prediction is as short as lightning, so I have to admire his band's quick response. Their cooperation has been very tacit.
Unlike those who just do gymnastics to the beat, we will find that professional conductors have always made predictions.
Sixth, expand sound processing and shooting
When a paragraph or song ends, there may be a prolonged sound (drawling). At this time, the conductor can rest on the "extended" notes. If he can't grasp the rhythm of the sustain well, he can continue to play gently with one hand. The method of playing extended sound is also applicable to extended sound in music.
If the prologue of a bar is "not long" or the interval is very close, it can be ignored if it is too busy.
There must be a clear statement at the end of the chorus paragraph-beat the beat.
A syncopator means that at the moment of syncopation, the ending will "draw a meteor" or "shake it in the opposite direction". This action can make a fist (hold! ), you can also not make a fist (stop! )。
Slow and weak racquet: if you stop below, draw half a circle up ")" and then naturally drop your hand;
Take slowly and forcefully: draw half a circle in the same way, and then smash your hand down;
Simple beat (no extended sound): pick it up and down, and then let go naturally;
Fade in: the action is getting smaller and smaller ... until the audience reacts.
At the end of the chorus paragraph (here is the intermission), you should beat an appropriate beat, then put down your hand and wait for the next paragraph to start. Finally, most ending actions need to be bright and powerful, and it doesn't hurt to be cool on the basis of correct understanding.
Seven, the part of the chorus that needs to be directed.
As a choir with accompaniment and recording, and you are only in charge of chorus in a big scene, you don't need to direct the prelude and interlude in the chorus, but you must command all the chorus parts ... until the moment you close the door, the task is completed.
It is conceivable that if a song is divided into two parts by an interlude, it needs two beginnings!
If a group chorus and several duets or even solos are intertwined in the work, my personal suggestion: If the solos and several duets have no harmony part, you may or may not direct those people-depending on the seriousness of their scenes, the group is your main responsibility.
After a shot, just wait for it. Maybe it's a long wait, and it's a bit silly to stand. You can also count the beats gently with the auxiliary hand under the accompaniment of the following interlude (like the processing of the sustain).
After you know what you need to do, you can predict the effect in advance according to the music situation, and you may need to convey it to the "creative planner" who organizes your activity and tell him, "Please! Not all pop songs can be changed to chorus, otherwise it will be really embarrassing ... "
Eight, co-production and sub-shooting
What Najib Banzhu downstairs said is laziness, in fact, it is necessary to coordinate and direct fast-paced music; In some slow and emotional places, as well as the change of rhythm, we can consider "simplicity and complexity", which is called "split beat"
Nine, don't forget to bow
The conductor himself should bow to the audience, and all the soldiers should salute.
Wish you success!
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