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ESSENTIALS IN CONDUCTING
HOW TO SECURE A FIRM ATTACKCoordinate with the discussion of continuous movement and back-stroke, the following principle should be noted: A preliminary movement sufficiently ample to be easily followed by the eye must be made before actually giving the beat upon which the singers or players are to begin the tone, if the attack is to be delivered with precision and confidence. Thus in the case of a composition beginning upon the first beat of a measure, the conductor holds the baton poised in full view of all performers, then, before actually bringing it down for the attack, he raises it slightly, this upward movement often corresponding to the back-stroke between an imaginary preceding beat and the actual beat with which the composition begins. When a composition begins upon the weak beat (e.g., the fourth beat of a four-pulse measure), the preceding strong beat itself, together with the back-stroke accompanying it, is often given as the preparation for the actual initial beat. In case this is done the conductor must guard against making this preliminary strong beat so prominent as to cause the performers to mistake it for the actual signal to begin. If the first phrase begins with an eighth-note (
), give a short beat for 4 and an extra up-beat for the first note of the phrase. If it begins with a sixteenth-note, do the same thing, but make the extra up-beat with which the first tone is to be coincident shorter and quicker. If a good attack cannot be secured in any other way, beat an entire preliminary measure until the attack goes well, then adopt some such plan as has just been suggested.
THE RELEASEThe preliminary up-beat which has just been discussed is equally valuable as a preparation for the "release" or "cut-off." The movement for the release is usually a down stroke to right or left, or even upward. It is customary not to beat out the final measure of a composition or a com-
