The Flexibility and Interpretation of Orchestra Conductor Gestures
Arguably, a conductor's movement is never standardized or specifically set. The music should be felt, not just planned. Yet, certain basic measures of conducting do exist, such as downward, sideways, and upward movements to indicate different time signatures. However, these movements can be tailored to express dynamics, and some conductors might choose to abandon conventional gestures altogether, focusing more on the overall expression and direction of the orchestra.
Non-Standardized Gestures in Conducting
The only part of conducting that is remotely standardized is the hand gestures, which trainees typically learn. These include gestures for time signatures, starting and finishing gestures, and expressions. Even these gestures have variances, and some advanced conductors might choose not to use them at all. A prominent example is Sir Simon Rattle, whose conductorial style in the video below is less about precise time signature marking and more about expression and engaging with the orchestra.
Video Example:
[Insert video link example: Simon Rattle Conducting Example]
Common Gestures and Their Interpretations
While gestures are not strictly standardized, there are common practices that can be observed. For instance, a crescendo is often directed by making your body larger or lifting your hand higher. A decrescendo is the opposite, where your body becomes smaller or your hand lowers. Finger and hand accents can be used to indicate slurs or staccato. For slurs and flowing passages, use large, sweeping gestures; for staccato passages, use small, jittery movements.
One particularly unique gesture for prolonged rests is the 'scissors motion', where you start from one side and make snippy, 'scissors' movements to indicate each beat. While this might seem eccentric, it serves a specific functional purpose for certain conductors.
The Importance of Sound and Expression
Ultimately, the key to successful conducting lies in the orchestra sounding good. While gestures can vary widely, the conductor's ability to express and direct the orchestra with varied and meaningful gestures is paramount. In certain schools, there may be standardized gestures, but such practices are rare and seldom enforced.
Conclusion
Conductor gestures are standardized only to the extent necessary to give the right cues. Beyond this, the conductor's style and expression are what truly matter. Understanding and interpreting these gestures can make all the difference in the delivery and performance of a musical piece.