One thing I do, and I highly recommend this, is setting up a black light right in front of you. Wrap some fluorescent tape around the tip of your stick and voila, everybody can see what you are doing in darkness.

Two things have served me above all others…first is being predictable. I use the same motion for vamps/rests/whatever every single time and it’s never surprising or confusing (at least I *think* so…maybe everyone hates me and the horrible truth is being hidden). When I’ve played in ensembles under other directors, nothing is worse than confusion or lack of clarity on the bandstand. The second is the most important…that’s friendly confidence. “This is the way we’re going” but as the driver on a road trip as opposed to the captain of a slave ship. The most respected MDs in my area are the ones who work really well with others and command respect via their talent and their taste as opposed to their attitude. Musicians are *highly* sensitive/astute people and they can sense your bluff from a mile away. Friendly confidence is the thing that keeps people from making stick figure animations about you, even if you occasionally get distracted by shiny stuff and lower your cueing hand.

Hello Rob, Thank you so much for this! I am actually a classical singer and have my doctorate in vocal performance. I knew Leonard Bernstein very well as I was his mezzo soloist for his 70th birthday gala summer. We toured Europe, Russia and ended with a concert at the Proms. Very thrilling as you can imagine. Now that I am in my 60s and am lot singing professionally as much, I have been offered a position as the music director for our annual musical at the university where I teach. Having never done it before, I dive in last November and directed a musical by Stephen Schwartz, Working. My orchestra was literally a rhythm section and it wasn’t that bad. But now I’ve been asked to return for Roger’s and Hammerstein’s, Cinderella , this coming November. My concern is I will be conducting a bigger orchestra. I don’t even know WHAT to ask you but I think I am most concerned about making sure to know how to segue changing tempi or even meters. So sorry for the long text. By the way, I also attended the Guildhall School of Music (1979-80ish). Let me know if you can recommend a specific video of yours. Many thanks!!! Candi

@MusicDirectorOnline

2 жыл бұрын

Hi there Candice. Thanks for your message and comments. Working with Bernstein must have been an unforgettable memory. Having read your comments over the next couple of months I'll put together a more detailed video on conducting, as the one you mentioned, I wanted to make it as basic as I could for beginners purposely. I'll use your message to me as a starting point for something more detailed. Many thanks, Rob

Thank you for this Rob, I had my audition for MA Musical Direction earlier this year and a few things need brushed up, keyboard skills need more connectionto body for core of sound, instruction was basic etc. (Just some of the feedback I received) I’m enjoying your videos so far and hoping they will help me improve for my audition next year!

@MusicDirectorOnline

2 жыл бұрын

Hi Danny. Thanks for your comment. Im currently looking to do a more advanced video on conducting but I'm pleased these have helped you so far.

@dannythomasboyle-actormusi5727

2 жыл бұрын

@@MusicDirectorOnline hi Rob could you also if possible upload a tutorial on sight reading as an MD? My sight reading ability is quite good but when it comes to things like Sondheim and JRB I need some tips and tricks, particularly when you’re the accompanist for the company do you read the sheets note for note or improvise with the bass/chords and keep in distinct melodies?

Have you dealt with the dreaded "behind the beat string section"? This only ever happens with string sections (normally operetta). I don't think I've ever had this issue with wind, brass or percussion. Bear in mind, I am a brass player, and haven't ever picked up a violin before, so there may be something I'm missing.

@MusicDirectorOnline

3 жыл бұрын

Hi Tim. Thanks for your message. The 'behind the beat' string players tends to come from their experience in classical music which is usually played as part of repertoire and therefore any conductor will concentrate on 'emotion' and 'feel' of the music rather than strict tempo indications that a pit conductor requires. Ive experienced it too and once had to explain to the orchestra how I intended to conduct and how I needed the beat to be followed. Having said that, groups of musicians playing together do tend to follow each other by instinct, but if that isn't how you want to be followed, you need to explain. Hope this helps.

Wonderful video and very well explained. I have a little question: I am conducting a small band (drums, bass, guitar, synth, piano, trumpet and saxophone) in a Musical Theatre show. I think it might look ridiculous if I used a baton, but we are using a nice Steinway & Sons concert piano and the ambient is going to be kind of dark. So, according to what you say in the video, I should actually use the baton, but, because of the small group of musicians, isn't it exaggerated? Thank you so much for your precious help.

@MusicDirectorOnline

Жыл бұрын

Hi there and many thanks for your kind words. In answer to your specific question there are no hard and fast rules on whether or not one should use a baton. It's really down to the individual. If you feel you have as much control without, then being without is right for you. As long as you are seen, and clear with your conducting style, not having a baton is irrelevant. Good luck with the production, let me know how it goes. Rob

@MauColiThePianoman

Жыл бұрын

@@MusicDirectorOnline so kind of yours. Thank you from the bottom of my heart for your quick and clear answer.

Hi Rob, any tips for conducting vamps? Thanks

@MusicDirectorOnline

3 жыл бұрын

Hi Matt. Vamp are quite easy. Keeping tempo with a small beat and maybe a still left hand in the palm down and 'hold' position. Its coming out of the vamp that's the key. Never split a bar to come out of a vamp though. One or two bar before the cue to come out, indicate with a facial gesture and a LARGE up beat and into the continuation bar. Small to big will indicate the bar to continue.

I’m currently MDing Reefer Madness and while I’ve MD’d a couple shows already this is the first one I’m doing solo and Piano Conducting, so any tips for piano conducting? (We won’t be using a click track)

@MusicDirectorOnline

3 жыл бұрын

Hi there Heidi. Many thanks for the suggestion. It's a subject Ive been asked about before and its now on my list to produce a video on this. Many thanks for watching. Rob P

@jonathanborden4856

3 жыл бұрын

The video from this channel on marking up your score is pretty solid. I really recommend writing down everything to help you rather than assuming you’ll remember it. When things go wrong (as it’s live theatre something will go wrong) your memory will be one of the first things to go. For example, I write count-ins on little brightly colored stickers so my eye goes there automatically when I start a new passage or song. Everything you can do like this will make your life easier in rehearsal and performance. It also enforces consistency which is important for all performers. They know they can always expect the same cues or the same count-in’s, etc...

Not many books out there about beating the correct (or close to correct) bpm... maybe you can let us know how you deal with this.

@MusicDirectorOnline

3 жыл бұрын

Hi Kris. Thanks for your comment. Im planning on a video answering a few questions and this is certainly one of them But as a quick answer - learn to beat at 60bpm (one beat a second) once you can do that it becomes much easier to beat other tempos: Double at 120bpm; or slightly slower or faster than each of these 70bpm/140bpm; 50bpm/100bpm and so on.

@krisspiteri7531

3 жыл бұрын

@@MusicDirectorOnline thank you very much