How can a conductor learn to communicate more expressively with their gestures? The temptation when we first ask this question is to focus on what we’re doing with our hands, but I’m increasingly of the mind that these are a relatively small part of the process. Moreover, while we will certainly need to give attention to this part of it, if we start here, we won’t get any further.
This is the first of a series of posts looking in some detail at ways to increase the expressiveness of our conducting gestures. As the introduction, it will give an overview of the key elements, with subsequent articles exploring practical approaches we can take to develop each element.
I will try to avoid digging too far into the theoretical background that underlies the practical suggestions. Much as I enjoy a good bit of theorising - not least because my idea of a good theory is one which helps you operate better in the real world - that’s not my primary purpose here. But if at any point in this series, you find yourself thinking, ‘But, why?’, then you may find that Part 3 of my book on choral conducting, and particularly Chapter 10, helpful.
So, an observation that serves as a useful starting-point: