Cover -- Contents -- Introduction -- CHAPTER 1The Beat -- Introduction -- A. Basic Techniques -- 1. The Baton -- 2. Placement of the Beat -- 3. The Size of the Beat -- 4. A System for Notating Beats -- B. The Preparatory Beat -- Introduction -- 1. Response to the Preparatory Beat -- 2. Influence of Orchestration on the Preparatory Beat -- 3. Preparatory Beat to Count 1 (without Setting Tempo) -- 4. Preparatory Beat to Count 1 (Setting Tempo): The Rebound -- 5. Beat Patterns -- 6. Preparatory Beat to Counts Other Than 1 -- 7. Preparatory Beat to Upbeats -- C. Types of Beats -- 1. Standard Beat -- 2. Staccato Beat -- 3. Legato Beat -- 4. Nonrebound Beat -- 5. Neutral Beat -- 6. Circular Beat -- D. Other Preparatory Beats -- 1. Multiple Preparatory Beats -- 2. The Added Nondurational Preparatory Beat -- 3. No Preparatory Beat for Solo Entrances -- E. Irregular Meters -- 1. Description of the Patterns -- 2. Preparatory Beat to Count 1 -- 3. Preparatory Beat to Other Counts -- 4. Preparatory Beat to Upbeats -- F. Subdivision -- 1. Full Subdivision -- 2. Modified Subdivision -- G. Ritardando and Accelerando -- 1. Definition -- 2. Subdivision in Ritardandos -- 3. Compounding Beats in Accelerandos -- H. Bars to Be Conducted in One -- 1. Individual Bars -- 2. Groups of Bars -- I. Subito Tempo and Dynamic Changes -- 1. Subito Tempo Changes from Slow to Fast at the Same Dynamic Level -- 2. Subito Tempo Changes from Fast to Slow at the Same Dynamic Level -- 3. Combination Fast to Slow, Slow to Slower, and Slow to Fast -- 4. Subito Dynamic Changes from ff.to p -- 5. Subito Dynamic Changes from p to ff -- 6.sfz and fp -- 7.Successive Preparatory Beats -- 8. Splitting a Single Preparatory Beat -- J. Beat Options -- 1. Choosing the Beat Unit -- 2. Some Metrical Problems -- 3. Suppressing the Rebound -- 4. Dictating -- 5. Cutoffs and Exits -- 6. The Luftpause.

7. Fermatas -- 8. Tied Notes -- 9. Syncopations -- 10. Tacet Bars and Grand Pauses -- 11. Sudden Silences and Their Continuation -- 12. Stopping the Beat -- 13. To Conduct or Not to Conduct -- 14. Composite Rhythmic Textures -- CHAPTER 2 Reading the Score -- A. Notation -- B. Rhythm and Tempo -- C. Metronome Markings -- D. The Common Denominator -- E. Dynamics -- F. Phrasing and Articulation -- CHAPTER 3 Preparation of the Score for Conducting -- A. Analysis -- B. Reading Through the Orchestral Part of Each Instrument -- C. Notation Issues -- D. Cuing -- E. Security -- F. Marking the Score for Irregular Meters -- CHAPTER 4 Seating Arrangements: Symbols for a Cuing System -- A. General and Historical Information -- B. The String Section -- C. The Woodwind Section -- D. The Brass Section -- E. The Percussion Section, Harp, Piano, and Celesta -- F. Symbols and Positions -- 1. The String Section -- 2. The Woodwind Section -- 3. The Brass Section -- G. Using Numbers Instead of Symbols to Indicate the Order of Entrances -- 1. The String Section -- 2. The Woodwind Section -- 3. The Brass Section -- H. Combined Traffic Patterns -- CHAPTER 5 Sorting the Orchestration -- CHAPTER 6 The Zigzag Way -- A. Leading the Orchestra -- B. The Zigzag Way -- 1. Beethoven, Symphony no. 2, First Movement-Adagio molto -- 2. Beethoven, Symphony no. 2, Second Movement-Larghetto -- 3. Beethoven, Symphony no. 2, Third Movement-Scherzo (Allegro) -- 4. Beethoven, Symphony no. 2, Fourth Movement-Allegro molto -- 5. Beethoven, Egmont Overture -- 6. Sibelius, Violin Concerto, First Movement-Allegro moderato -- 7. Debussy, Prelude to the Afternoon of a Faun -- 8. Bartók, Concerto for Orchestra, First Movement (Introduzione)-Andante non troppo and Allegro vivace -- 9. Copland, Appalachian Spring Suite -- 10. Tchaikovsky, Romeo and Juliet Fantasy-Overture -- CHAPTER 7 Special Techniques.

A. Accompanying -- B. Operatic Conducting -- 1. General Procedures -- 2. Casting an Opera -- 3. Voice Categorization -- 4. Voice Charts -- 5. Opera Chart -- 6. Recitative Conducting -- C. Choral Conducting -- D. Band Conducting -- E. Ballet Conducting -- F. Backstage Conducting -- G. Cross-Rhythms -- CHAPTER 8 Additional Concerns -- A. Ear Training -- B. Memorization -- C. Specialization -- D. Cosmetics -- E. General Attitude and Behavior -- F. Orchestra Musicians on Probation -- G. Programming -- H. Auditions -- I. At the Rehearsal -- J. Intonation -- K. Bowings -- L. About Breathing -- APPENDICES -- A. Instrumental Charts -- B. Notation of Instruments -- C. Harmonics -- D. Harmonics Charts -- E. Cross-Rhythm Charts -- Acknowledgments -- Index of Musical Examples -- B -- C -- D -- F -- G -- H -- K -- L -- M -- P -- R -- S -- T -- V -- W -- General Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- Z.