Abstract Summary | Michael Hopkins: Assessing and Improving Your Conducting Technique | Mikayla Bushkar

Michael Hopkins String Pedagogy Notebook has many useful articles, one of which is the article

Assessing and Improving Your Conducting Technique. Hopkins says that one way to improve your

technique as a conductor is to video record yourself each rehearsal. Once you have done so, play the

video back on a Mac or PC. It may even be preferable to upload the video into an editing software, such

as Windows Movie Maker (PC), Adobe Premiere Elements (PC or Mac), or Sonys Vegas Movie Studio

(PC). This is useful for slowing the footage down to be viewed frame by frame.

Once a conducting video has been viewed, it can then be assessed. A conductor can then critique

themselves on their technique. They can even listen to the ensemble again to see how they respond to

each conducting gesture. If the ensemble sounds disconnected or unsure of themselves after a certain

gesture or cue, perhaps the conductor was unclear or needs to work on their technique.

When reviewing their conducting technique, the conductor should ask themselves several

questions: first, how is my posture? Am I standing stall, not slouching, with my body lengthened and my

weight balanced? They should also assess whether or not their hands are on the same plane when

mirroring. They should also ask themselves whether they are constantly looking down at their music or up

towards their ensemble; ensembles respond more accurately to a conductor when the instructor is making

eye contact with the group.

Hopkins also mentions the importance of being clear in the beat pattern. Conductors should

always ask themselves if each beat has a clear ictus. This can be determined by watching the video frame-

by-frame. Often, beats 2 and 3 of a four pattern, or beat 2 of a three pattern, are neglected and can become

unclear. If the conductor is not very clear on these beats and where they lie on the conducting plane, each

member of the ensemble may have a different opinion on where and when the beats occur.

Lastly, Hopkins states the importance of clear cues. A conductor should ask themselves if they

are delivering enough cues to their ensemble and whether or not these cues are occurring at the correct

time. A conductor should also question whether or not they are giving enough eye contact to their

ensemble when giving cues. Conductors should also ask themselves if they are giving clear releases, as

this can lead to a much clearer sound from the ensemble.