Acceleration into the Beat-point and deceleration out of it facilitate anticipation of the exact moment the sound should begin. Cut-off gestures must show how the bow or mallet should be lifted and how the wind players or singers should inhale to release the sound. Sharp gestures cause the release to be accented and/or stifled.
in my opinion, just the simple up/down movement is a 2/4 for me due to my interest in early music performence practises and theory, especially that of early 1500s to 1850s-ish.
![The Left Hand | Conducting 101 [Part 4 of 6]](http://i.ytimg.com/vi/MrsDI1j5YCw/mqdefault.jpg)
![The Left Hand | Conducting 101 [Part 4 of 6]](/img/tr.png)
![The Right Hand | Conducting 101 [Part 2 of 6]](http://i.ytimg.com/vi/xtT5rWVASds/mqdefault.jpg)
Awesome teaching, thanks!
Thank you Maestro.
Thank you so much Alexander!
Acceleration into the Beat-point and deceleration out of it facilitate anticipation of the exact moment the sound should begin. Cut-off gestures must show how the bow or mallet should be lifted and how the wind players or singers should inhale to release the sound. Sharp gestures cause the release to be accented and/or stifled.
Cool insight, tools for the tool belt
in my opinion, just the simple up/down movement is a 2/4 for me due to my interest in early music performence practises and theory, especially that of early 1500s to 1850s-ish.