Here’s a few of the common ones. I would note that this isn’t any sort of gospel - it depends a lot on the maestro, and on the piece itself.
For a fast waltz, for example, it’s very likely that the conductor will only signal the “downbeat” (ictus) and be much more… subjective withe the rest of the motion, and allow some freedom instead of keeping some robotic tempo that could sound forced and boring, it’s really a very dynamic form of communication.
If there’s some big crescendo for example, maybe he won’t even signal the tempo and instead use both hands to control intensely, the energy, of that segment, and prepare a monstrous downbeat when it reaches the climax.
I know little about conducting, but it’s fascinating.
Here’s a few of the common ones. I would note that this isn’t any sort of gospel - it depends a lot on the maestro, and on the piece itself.
For a fast waltz, for example, it’s very likely that the conductor will only signal the “downbeat” (ictus) and be much more… subjective withe the rest of the motion, and allow some freedom instead of keeping some robotic tempo that could sound forced and boring, it’s really a very dynamic form of communication.
If there’s some big crescendo for example, maybe he won’t even signal the tempo and instead use both hands to control intensely, the energy, of that segment, and prepare a monstrous downbeat when it reaches the climax.
I know little about conducting, but it’s fascinating.