A. Gestural Technique

- INTRODUCTION (Basic requisites to conduct and the "ideal conductor")

I. LEGS POSITION (A) - THE KNEES (B)

II. THE BACK

III. THE HEAD

IV. CONDUCTOR'S STAND POSITION

V. ARMS POSITION (Right Depth, Width & Height)

VI. THE BATON GRIP

VII. HOW TO GET DRESSED BEFORE THE ORCHESTRA

VIII. THE CONDUCTING GESTURE

IX. THE MEASURES/BEAT PATTERNS (Circles)

X. FOR THE WEIGHT OF SOUND (Exercises on Sound Quality and Quantity)

XI. UNIFORM GESTURE (without changing the weight or without weight)

XII. OUR Body and Sound CENTRE

XIII. THE TIP OF THE BATON: "A Pen that writes into the Orchestra"

XIV. THE CENTRE OF THE BATON

XV. THE MEASURES/BEAT PATTERNS (expressed beating in 4/4, 3/4, 2/4 times)

XVI. HAND POSITION FOR THE ICTUS (A)

          - THE ICTUS (B) - EXERCISES TO STUDY THE ICTUS (C)

XVII. THE LEGATO GESTURE

XVIII. EXCEPTIONS: RIGID GESTURE FOR BACKBEATS, "CUT-OFFS", SYNCOPATED BACKBEATS

XIX. FERMATAS

XX. ACCOMPANYING INSTRUMENTAL OR VOCAL SOLOISTS, Recitatives (A) -

        Recitatives (B): 1) The empty bar - 2) The harmony change - 3) The change from the empty bar to the sound

XXI. QUANTITATIVE & QUALITATIVE CHANGES

XXII. THE UPBEAT (A) - THE UPBEAT IN "SCHERZOS" AND "MENUETTOS" (B) - 

           SPECIAL EXAMPLES OF UPBEAT (C)

XXIII. TERNARY METERS

XXIV. EXAMPLE OF CHANGES OF GESTURE (from 4/4 time to 2/2 time, from 2/2 time to 4/4 time, 

             combined exercises)

XXV. THE GESTURE AS INFORMATION ON THE WAY OF PLAYING

            ("Sciolto", "Portato", "Corto", "Tenuto", "Sf", "Fp", "Sfp")

XXVI. EXERCISES TO STUDY THE COMPRESSIVE & EXPANSIVE TENSION

             ("Tension and deepness" in Arms, Breathing & Eyes Exercises)

XXVII. DERIVATIVE MEASURES/BEAT PATTERNS (5/4, 5/8 - 6/4, 6/8 - 9/4, 9/8 - 12/4, 12/8 times

              & 7/8, 8/8, 9/8, 10/8, 11/8 times)

XXVIII. THE "RATIOS" in the Conducting Gesture and/or the SUBDIVISIONS of the beats