Chapter 6

The Performance Sequence

Turning With an Open Focus

Turning to cue individuals or sections within an ensemble can result in sending an unintentional message of exclusion to other members of the ensemble
Here, the conductor's focus is closed and placed entirely on a player to his left
This time the conductor keeps the rest of the ensemble in his open focus while cuing the same individual
Though the conductor's primary attention is not directed at you, the observer, there is still a notable difference in the perceived level of inclusivity
Here it is again, shown from a different perspective
When focus is closed, it limits the body's ability to counterbalance
The body tends to lean in the direction of the limited focus, causing it to be out of balance and tense
If the feet are allowed to soften, the weight of the Movable-Masses will naturally shift back to a more balanced position
Maintaining an open focus that includes everyone, even while cuing specific individuals, naturally softens the body
The result is a body that is more balanced, less tense, and that is generally perceived to be more open and welcoming

Dynamic (Constantly Moving) Gesture

As a conductor, it is not enough to simply make a gesture. Intention is the reason for the gesture
Since musical intentions are constantly changing with the flow of time, conducting gestures must be dynamic, or constantly moving, as opposed to static
However, the movement need not always come from your hands, arms and/or baton
The concept of dynamic (constantly moving) gesture is easy to demonstrate
Simply raise your hand in front of you and keep it there
Now, just imagine that your hand is moving outward through space
Simply having this intention was powerful enough to soften your Movable-Masses and allow them to move just a bit
Staying connected to your musical intentions allows dynamic movement to naturally occur throughout the body, helping to make gestures look more authentic and compelling