Learning from Eric Ericson IV - Conducting Technique I
Date: April 17, 2014
NOTES FROM ERIC ERICSON'S CONDUCTING SESSIONS AT HAYSTACK , 1986
These notes are from several sessions (hence I've abbreviated in some places) that Eric Ericson did on basic conducting technique. This took place at the Haystack Workshop in Astoria, Oregon. I was singing in the 16-voice chamber choir that did a concert as well as providing the workshop choir. These are exercises to practice, or which are useful in teaching conducting (I've used them regularly). I'll spread this over two posts, corresponding to the two days Eric did this. (Sorry for any formatting "oddities" -- I had to scan and old typed version to pdf and then convert to MS Word, which made for some challenges)
1) Posture - find a balanced posture - now rotate your body side to side—relax your arms and let them follow your body - note that the arms follow in a circular way - "you need to find a natural way for your body to conduct"
2) Put your thumb and forefinger together and press intensely, so intensely that your fingertips become white - but localize the tension so that it's only in your fingers, not your arm - move your arms freely, tension only in the fingers - "too much muscle can kill the music"
3) Now bring your hand up to a 'normal' position - feel attachments that lift your arm
4) Now clasp your hands together and press them together hard - feel the intensity, but no tension in your shoulder
5) To find the position of the hand while conducting, simply lift up from by your side - find a natural position - avoid the elbow out or in, just ''natural”
6) what the conductor does must help vocal production (E. doesn't want baton for this reason)
7) the focus of the beat is the entire hand (not the fingers—too tense/ not the wrist—too floppy)
8) conduct in 1 (Eric plays the piano) - "feel the magnetic pull towards the rebound spot" (ictus)
9) bounce the beat off of the left hand, held at belly level
(Eric plays a waltz - "you want a clear one that provokes what follows"}
10) now conduct with the whole arm - now focus in the elbow - see how awkward and inefficient
11) now conduct in a four pattern - E. watches and says: "don't let your elbow go out for beat 2" "don't put beat 1 in front of the body - it makes for an unnatural position"
12) (continue conducting in 4) - feel the hand leading the beat , the arm follows
(comments to class while conducting) "relax your shoulder" "concentrate the beat in the hand" "walk around a little bit" "smaller beat , very small"
13) E. has class alternate bars conducting 4 while counting 2 and vice-versa
14} "The size of the beat is related to the tempo, not the dynamic”
15) Independence of hands: r.h./1.h.
16) Articulation: alternate:
17) now conduct 12/8, but sing only the first 8th note of every beat on the syllable “pom”