Church Music Committee: Chorister’s Manual, Lesson VI; Time Beating

CHURCH MUSIC COMMITTEE Chorister's Manual — Lesson VI — Time Beating by Edward P. Ktmbat.t. Time-beating is one of the important things in the art of conducting; it is not the only ability required of the conductor, for a mere time-beater is not a conductor, though a good conductor is usually a good time-beater. But the ability of beating time properly, so that everyone is dependent upon the con- ductor for a clear understanding of the measure, is a technical requirement that every conductor should master as the foundation of his conducting. It might not be going too far to assert that time-beating is the outward expression of the conductor's conception of rhythm, the most important ele- ment in music. Certainly no conductor can express to others his desires in relation to rhythm unless he use a medium as definite as speech and his choir understands the fundamentals of his art of time-beating, for there is an accepted manner of beating time which in its foundation principles is under- stood by all educated musicians; and there can be no reason why all choristers should not acquire it, and all singers understand it. True, there are ex- ceptions in which can be found examples of successful conductors who have their own systems of beating time, but only the musicians under their direc- tion, those only who have been trained to their idiosyncrasies can understand such conductors' intentions — with others their system is unintelligible. We find also speakers of English who disregard the accepted principles of speech, but these are not our examples set up to be emulated. When our choristers, of meagre training, and limited experience, evidence a disposition to minimize the importance of the requirement of an adequate technique in time-beating, in accord with the principles accepted generally, it is an exhibition of assumption of ability, or a disregard for excellence, to say the least, that is not commendable. The baton is the "rod and staff" of the conductor. It should be made of light material easily discernible in color and about 15 to 18 inches in length. A thin, willowy stick is both more suggestive of lightness and grace, and more easily handled than one of the order of a "club." It should be held lightly in the hand between the thumb and forefinger with the butt or thick end projecting slightly beyond the little finger, as in the illustration below. (Fig. 1.) The grasp on the baton should be relaxed enough to permit of a grace- ful and free use of the wrist. Fatigue may be avoided by holding the elbow close to the body. The beat should always be graceful. The length of the beat, and the manner of indicating special effects, will be treated in a subsequent lesson. The content of the present discussion is the manner of beating "time," and not interpretation. The safest assurance of an intelligible beat is a thorough understanding of the elements of time and rhythm. There are many kinds of time, but there are only two kinds of rhythm, namely, duple and triple. Time means the number of beats in a measure, and is always indicated by the figures at the beginning of the selection. Rhythm may or may not be determined simply from the time signature, and deals with the succession of pulses in the mea- sure. It should be borne in mind that there are two kinds of time, simple and compound. Simple time is that indicated by 2, 3 or 4 as the upper figure in the time-signature; compound, that in which 6, 9, or 12 is the upper figure. The important distinction between simple and compound time is this: the individual beat in simple time determines the rhythm, while in compound

CHURCH MUSIC COMMITTEE 479 time the rhythm is determined by the pulse. In simple time there are as many pulses in a measure as there are individual beats; in compound time there are as many pulses as there are groups of three beats in the measure. This is very important, as one's ability to beat time correctly will depend, in large part, on his understanding of this difference. For example, in a mea- sure of 3-4 time there are three beats, and there also are three pulses, so that in beating this time three beats must be indicated (except in fast tempo, when it may be more expedient to beat one for each measure) ; but in 6-8 time, while there are six beats in a measure, it is necessary only to indicate two beats (pulses) , except in slow tempo, where it may be more expedient to indicate the individual beat, in which case it is done in such a way as will lay the stress of the pulse upon the first of each group of three beats, as later examples will illustrate. It is rhythm, not beats, which gives to music its character, and the chorister should determine carefully the rhythm which he has to do with, before attempting to beat time. While it will be necessary to make deviations from the stern observance of the primary principles of time-beating, due to fast and slow tempo, and the variations of either, the chorister must perform them in such manner as will convey the meaning that they are deviations, and not make the exception the rule. No matter what additional strokes are necessary the primary beats in the measure should be given with such clearness that there can be no doubt as to where they occur in the conductor's beat. A table of illustrations is presented below in which are shown, as clearly as lines can illustrate, the simplest and most universally accepted way of beating the forms of measure most commonly met with. In referring to them the chorister should face the examples and carry out his stroke as an enlarge- ment of the lines therein indicated. But before examining them it is intended to present a few principles of time beating as laid down by an eminent American authority, Karl W. Gehrkin, who says: "1. The strongest pulse of a measure (the first one) is always marked by a down beat. This principle is merely a specific application of general fact that a downward stroke is stronger than an upward one (c.f., driving a nail). "2. The last pulse of a measure is always marked by an up beat, since it is generally the weakest part of the measure. "3. In three and four-beat measure, the beats are so planned that there is never danger of the hands colliding in conducting vigorous movements that call tor the use of the free hand as well as the one holding the baton. "4. In compound measures the secondary accent is marked by a beat almost as strong as that given the primary accent. "A definite, positive and accepted method of time-beating is recommended as follows: (Note: references by numbers of figures refer to table of cuts at end of lesson) . 1. Simple duple measure: 2 2 2 Compound duple measure: 6 6 6 6 2 4 8 2 4 6 16 Two beats to the measure — down (strong) ; up (weak). See Fig. 2. When the tempo is very slow and it is desirable to indicate half beats in simple measure or individual beats in compound measure the beat is as indi- cated in Fig. 3 (simple) and Fig. 4 (compound) . 2. Simple triple measure: 3 3 3 3 (not common) 2 4 8 16 Compound triple measure: 9 9 9 4 8 16 Three beats to the measure — down (strong) ; tight (weak) ; up (weak). See Fig. 5. This measure is sometimes beat down, left, up, but the best

480 IMPROVEMENT ERA V 9 8 7 8 7 3 | j Top Figure 1; first row: Figs. 2, 3, 4; center row, Figs. 5, 6, 7; bottom row: Figs. 8, 9, 10; as referred to in the text. authority agrees that to the right for the second beat is better than to the left, because in four-beat measure the second beat is always to the left; the third to the right, and there is no possibility of confusing the three-beat and two-beat measure in case the time signature suddenly changes as it often does. In slow tempo where it is desired to indicate half beats in simple mea- sures or individual beats in compound measure, this is done as shown in Fig. 6 (simple — the figures 2, 4, and 6 here indicate simply half beats. Great care should be used to understand that 6-8 time is duple rhythm, and 3-4 time is triple and that the beating of them in slow tempo is entirely different, as a careful examination of the cut will demonstrate) and Figure 7 (com- pound) . 3. Simple quadruple (four-beat) measure: 4 4 4 2 4 8 Compound quadruple measure: 12 12 12 4 8 16 Four beats to the measure — down (strongest) , left (weak) , right (strong), up (weak). See Fig. 8. In slow tempo, where half beats in

CHURCH MUSIC COMMITTEE 481 simple measure and individual beats in compound are to be indicated, see Fig. 9 (simple) and Fig. 10 (compound), and apply explanation given under "simple Fig. 6" above to the figures 2, 4, 6, and 8 in Fig. 9. Finally, the uncommon five-pulse measure 5-4 will be encountered so unfrequently that no demonstration is given in the cuts. The following two ways of beating it are in common use: 1. Down, right, up, down, up. In this case the fourth beat, down, should be less vigorous than the first, which is the beginning of the measure. 2. Down, left, right, up, up. The chorister who will perfect himself in time-beating according to the suggestions contained in this lesson will possess a definiteness in conducting that will leave no doubt in the minds of his singers as to his intention. The technique of interpreting with the baton his intention in interpretation, etc., will be treated in the next lesson. Cantatas and Easter Carols The following cantatas are good, and not too difficult, for the average ward Choir: Resurrection and Life, by Wilson. (An Easter canTata published by Lorenz Publishing Co. Orchestration may be had at very nominal price.) Prophecy and Fulfillment, by Arthur Judson. CPublished by Hall Mack Co. A fine compilation of individual numbers for general use. The Nativity by Adam Geibel. (A Christmas cantata published by Hall Mack Co.) Olivet to Calvary. Easter cantata by Maunder (Puplished by Novello ft Co.) Bethlehem. Christmas cantata by Maunder (Puplished by Novello ft Co.) Six Easter Carols, by F. E. G. Lloyd. (Published by Boston Music Company.) All of the above have good collections of separate numbers that may be used throughout the year. Oder from local music stores. "I Am Ready" Dr. George H. Brimhall sends the Era the following tribute to Woodrow Wilson: "I am ready." These were the words that he uttered when summoned to pass over the "Great Divide," and they were the slogan of his entire life, the countersign he always gave to Opportunity. When a university called for a head, he, the young professor and lawyer with a record of superior scholarship, answered, "I am ready," and Princeton is proud that he was once its president. When a sovereign state sought his services as its chief executive, he, with a history of unswerving patriotism and a capacity for management, answered, "I am ready." And New Jersey remembers well the purifying power of his ideality and the onwardness of his administration. When the Republic of the ages sought for a citizen equipped for the duties of its highest office, the leadership career of Woodrow Wilson said for him, "I am ready." When the life of civilization was menaced, and it called for help, and with bated breath the nations waited for an answer, he, the chosen chieftain, answered, "I am ready." That declaration, echoed by our assent, caused the pulse of despotism to weaken, and the heartbeats of freedom to grow stronger. When the world, emerging from its deluge of blood, called for a bow of promise, he with his peace covenant, proclaimed again, "I am ready." But the world was not ready, and his plan to hasten the millennium sunrise was placed on the waiting list. His life was one of service, and his 'death was that of a hero. In the firmament of fame, his star shines as one of no secondary magnitude.