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Combined page (2026-10-21). Original draft first; 1 variant draft appended below under a “Variant:” heading — Conducting: Big Picture (an expanded rewrite of the same ideas). Edit down to one post before setting Ready to Publish.

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When it comes to this particular course, my focus is going to be on the one thing that I didn't learn in all of my conducting classes. That's how to work with musicians, that aren't amazing. I had the benefit of more specific conducting training than most people ever do. I just liked it, and I had the opportunity to work with amazing singers, and amazing orchestra, while I was still an undergraduate in college. I wasn't taking the courses for credits that would work toward my degree, I was just taking them because I could. The various teachers that I had, focused on musicianship, conducting technique, communicating your ideas with your hands, and really thinking about the music and translating those thoughts at a high-level to the forces under your direction. When I got my first job, I realized that those skills, while important, would not help me get a choir of people who still needed some direct training on how to sing, and how to read music, and so forth, to perform successfully.

1. So as we move into the course itself, I want to sit out what I think are the true priorities for you as a conductor.
2. Pick the right repertoire. You need to be very honest with yourself, about picking repertoire that is appropriate to the level of your musicians, appealing to them artistically, appealing to you, artistically, and appealing to the audience. It's a complex matrix of decision points, but it's one of the main keys to your success.
3. Know the music inside and out. Obviously, you're saying to yourself. And my suspicion is that of course you'll learn the music. But one of the things that you need to learn, has nothing to do with the music itself. It has to do with the way the music will challenge the musicians under your direction. You need to not only know what your musical objectives are, but you need to know where those objectives will meet are difficulties among your musicians.
4. Develop effective rehearsal plans. Efficiency is the name of the game, and if the musicians under your direction feel like their time is being respected, they will respect you and work for you.
5. Never underestimate the importance of developing a great relationship with the musicians you work with. I was brought up under a musical system which put an enormous value on discipline, fire, and brimstone. There was a lot of yelling, a lot of derision, and especially in the early part of my career I modeled that. I lost singers because of that. I could come up with any number of excuses for why that was a good thing to do, but really it wasn't. You can maintain high standards, without being a dick about it. And that's one of the most important things. You always need to remember that if you're working with amateur or volunteer musicians, they have to enjoy working with you. Yes, the musical product that you deliver, can be an enormous source of joy and satisfaction. But they shouldn't have to work through your grumpy, nasty, and perennially unsatisfied personality to get there. You don't need to become best friends with everyone, in fact I suggest you be friendly, but not familiar but you do need to remember that their presence in rehearsal and performance is the reason why you have a job.

In a conducting workshop I took one summer, a participant asked "I always feel intimidated by the fact that I've been studying conducting for a few weeks, and I'm working with musicians that have been studying their instruments for years. What am I supposed to do about that?" The clinician gave an answer which I don't remember, so I raised my hand and chimed in "it seems to me, that the conductors most important tool, is not their baton, it's their personality. And we've been working on that for our entire life. I don't feel intimidated, I've got many years on them!" He smiled, looked at me, looked at the group, and said "everyone needs to keep an eye on this guy, he's going places." I made that comment at 19, before such a hubristic statement could be informed by any real insight. But looking back at age 52, I realize that I was right. Sadly, that younger version of me cultivated all the wrong elements of my personality ranging from the benevolent dictator, to the raging tyrant. Our professionalized musical culture not only continues to tolerate those archetypes, it encourages them. You can go that route if you like, and speaking from experience, unbridled self expression can be fun while earning you some praise. But we simply don’t need anymore of it. Our world has more elite musical excellence than we know what to do with. What we need now, are leaders who step up to the podium that love people even more than they love music. We need to get our priorities straight, music is here to serve humanity, not the other way around. If we get that straight, we will inevitably honor the music, deliver thrilling performances, a give our singers a chance to shine.

Variant: Conducting: Big Picture

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Merged from Working Materials page “Conducting: Big Picture” (670 words) on 2026-10-21. Text below is verbatim; the source page was marked Archived / Duplicate? = Delete.

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The Conductor's Prelude: Setting the Stage for Musical Success

Imagine stepping onto the podium, baton in hand, with an ensemble of eager musicians before you. The silent anticipation in the room is palpable, a canvas waiting for the first stroke of sound. This moment, the culmination of meticulous preparation and strategy, is the conductor's domain, a realm where musicality and leadership converge. Let's delve into the intricacies of conducting, not just as a mechanical task, but as an art form that breathes life into compositions and kindles the collective spirit of musicians.

Crafting the Foundation

Knowing the score inside and out is the bedrock of conducting. However, the path to a successful rehearsal encompasses more than just musical familiarity. It's a holistic approach where even seemingly minor details play a pivotal role. I've learned, sometimes the hard way, that every element, from room setup to time management, significantly impacts the rehearsal's outcome.

Creating an Inviting Space

The rehearsal space is a mirror reflecting the conductor's ethos and respect for the ensemble. While the arrangement of chairs and stands might seem a mere logistical task, it sets the rehearsal's tone. A well-organized, clean space signals seriousness and dedication to the craft, subtly encouraging musicians to engage fully with the process. Even in shared or less-than-ideal rehearsal venues, striving for cleanliness and order can foster a focused and respectful environment.

Timing is Everything

Arriving early and ending on time are not just courtesies; they are essential strategies for effective rehearsal management. Ensuring the room is prepared before the first musician steps in avoids chaotic starts and sets a professional tone. Similarly, concluding as scheduled respects everyone's time and commitments, leaving musicians with a sense of accomplishment and anticipation for the next gathering.