Saito Buch 3 PDF

53
PA-RT TWO
APPLICATION OF THE TECHNIQUES
All the basic conducting techniques were presented in Part One. In Part
Two, you will have an opportunity to apply these techniques to pieces of
music. From here on, you must pay more attention to the way you begin a
piece than you did during the study of basic technique. It is essential that
the baton be held completely still in the preparatory position until you are
certain that all the players are paying attention. If the players start watching
the baton only after the preparatory motion has begun, there will
undoubtedly be disunity ip. the ensemble. The preparatory motion is
effective only when the players see it from the very beginning. You must
bear this in rnind, even if you are practising with only one pianist.
Incidentally, when you are practising with a pianist you must not be
submissive, merely following the pianist with YOUT baton. Such an attitude
will inevitably lead to chaos as you work with larger and larger ensembles.
You must lead the pianist in the same way that you would lead an
ensemble.
All of the following studies are in the Sonatina Album Volume 1. (This is
the Köhler edition. CE Peters Co., Ashley Publications and others have published it. Ed.)
STUDY 1
- Application of Heikin Undo or soft Shakui-
No. 29 in the Sonatina Album, VARIATION UBER "VIEN'QUA, DORINA BELLA,"

Opus 7, by C.M.von Weber (the Andante theme only) M.M. J = circa66
First, select one of the three basic conducting techniques, Tataki, Heikin
Undo, or a From-Point motion. The legato character of the music seems to
call for Heikin Undo as the basic motion, Note, however, that the
54 The Saito Conducting Method
accompaniment pattern consists of moving eighth notes in the inner voice.

When an accompaniment consisting of strong rhythms moves against a
legato melody, it is usually more appropriate to focus on conducting the
accompaniment rather than the melody. If you conduct such music
concentrating only on the melodie motion, the phrasing, and the rhythmic
elasticity, the short notes and their rhythms will become imprecise and the
entire ensemble will suffer as a result. It is important that you conduct
primarily the rhythmic moving part, but with enough attention to the
melody to allow it to float over the rhythm, so to speak. Thereby the
ensemble is kept together while the melody sings freely. In other words, the
more legato the melody, the more important it is to attend to the underlying
rhythmic parts.
N.B. lt is easier to make a tempo ehange like an aeeelerando or ritardando ij the more rhythmic
voices are the focus of your conducting. The melody will follow any change naturally. Also, belore
pursuing the study ahead, let me remind you that it is more meaningful and effeetive il you
imagine that you are eondueting an Orehestra even though these studies are but Sonatinas written
lor piano. Imagine that the various instruments of the orehestra are playing and try to hear their
unique timbres as you lollow eaeh voice. Deeide whieh instruments to use based on the
eharacteristics of the part, such as whether it represents melodie or rhythmie material. A diseussion
of orchestration is beyond the scope of this book. Aß we proceed, let us imagine that these studies
are arranged for Orchestra.
Let us suppose that the theme of this piece is played by ahorn or by a

violin, and that the inner voices, consisting of eighth notes, are played legato
by the strings. We shall refer to the first twelve measures as Section [Al.
The music shows the phrases in groups of two measures, but musieally it
needs tolbe in four measure phrases, created by simply adding successive
pairs of measures. Needless to say, the phrasing is a very important aspect
of music-making and in conducting it is even more important. If the
conductor does not make the phrasing c1ear, the performance will resemble
sentences spoken without punctuation and inflection. That being said, let
us start to conduct.
5tudy 1 55
SECTION [Äl (the first 12 measures)
Example 1
[AI
MEASURE 1
e§H~~_1
Indicate the tempo using a clear and precise preparatory
motion. All beats Heikin Undo or soft Shakui.
MEASURE 2
Beat 1 Heikin Undo or soft Shakui
Beat 2 Heikin Undo
Beat 3 Make the Tenzen small. Notice that the slur ends here but the
phrase continues. Measures 6 and 10 have the same marking.
To give some emphasis to the melodie leap on Beat 1 of this measure, it is

best to slightly enlarge the pattern on the Tengo of the previous beat, i.e. Beat
3 of Measure 1 preparing for Beat 1 of Measure 2. Thus, you can emphasize
Beat 1 effeetively by simply enlarging the Tengo of Beat 3 without any
aeeeleration in the Tenzen of Beat l.1 When you wish to get a somewhat
louder sound without making the articu1ation harder, as in this case, it is best
to show the dynamic change through the preparatory motion alone, without
adding Shakui or Tataki on the Point. Use of Shakui or Tataki would result in
asound which is too loud and too heavy.
MEASURE 3 All beats Heikin Undo
MEASURE 4 All beats Heikin Undo. Sinee this is the end of the phrase,
make the motion gradually smaller. Use an intermediate preparatory
motion on Beat 3.
1 Editor's Note: Changes in the size of the motion necessitate changes in the overall speed 01 the
motion. To avoid acceJerating the downward motion, start the upward motion at slightly faster
speed and begin to move downward a fraction of the beat sooner than previously. Originate the
motion from the shoulder. Avoid tension in the arm and shoulder.
NOTE 1 INTERMEDlATE PREPARATORY MOTION

An intermediate preparatory motion is similar to the preparatory motion used to start a piece,
and is used during the course of a piece to show the beginning of a new phrase, in one or more
voices. See Figure 41.
When an intermediate preparatory motion is required on Beat 3, as in Ibis example, stretch the
size of the Tengo of the preceding beat, Beat 2, and decelerate to meld it into the Tenzen of Beat 3.
(Continue to move in the same direction. Ed.) Burst from the Point of Beat 3 and decelerate
gradually. Because the accompanying rhythm continues throughout, you must avoid a complete
stop at the end of that decelerating motion which leads to Beat 3. Since there is no recognizable
Tenzen for Beat 3, an intermediate preparatory motion to prepare for the new phrase is created by
that motion which follows the Point. Be aware that if the deceleration in the Tengo of Beat 2 starts
too soon or slows the movement too much, the players will mistakenly interpret the motion as a
ritardando.
'" I Intermediate Preparatory Motion
1 S .
~ 2
Figure 41
Example 2
MEASURE 5 All beats are Heikin Undo. Gradually make the pattern
larger to express the poco crescendo.
N.B. The size of the conducting pattern is usuaUy proportionate to the volume level, Just
gradually enlarge the pattern for a crescendo. See NOTE 5, page 68.
5tudy 1 57
MEASVRE 6 Same as Measure 2
MEASVRE 7 Same as Measure 3. Pay special attention to the dotted notes

on Beat 3.
Example3
MEASVRE 10. Same as Measure 2
MEASVRE 11 Same as Measure 3. (Payattention10 thedottednoteonBeat1. Ed.)
SECTION [B]
From here on, the music becomes more active with more instruments of
the imaginary Orchestra joining in. Because the dynamic is now mezzo
forte compared to piano in Section [AL the pattern should be enlarged and a
slight, natural acceleration and deceleration added to the basic Heikin
Undo. (Wilhthe addition of accelerationand decelerationthe motionbecomesvery soft
Shakui, Ed.) Some acceleration and deceleration is usually added to the basic
Heikin Undo when legato music gets louder. The motion used in Section
[Al should slightly accelerate and decelerate too, but the rate of acceleration
and deceleration is a bit greater here in Section [B).
Example4
MEASURE1
Beat 1 Shakui. Enlarge the Tengo of Beat 3 in the previous measure to
create an intermediate preparatory motion.
Beats 2 & 3 Heikin Undo. Gradually increase the size of the pattern to
draw out the crescendo.
MEASURE2
Beat 1 Heikin Undo
Beats 2 & 3 Heikin Undo. Gradually make the pattern smaller. On
Beat 3 make a smaller Tenzen and a slightly larger Tengo to make an
obvious intermediate preparatory motion for the next measure.
MEASURE 3
Beat 1 Shakui
Beats 2 & 3 Heikin Undo
MEASURE4 Use a shallow Hando-Domeh, at the centre-shoulder

position, for the fermata. Hold the baton motionless through the fermata
and begin apreparatory motion using Haneage from that position. This
ferrnata should not be held too long: just count to three rather slowly. For
more about Hando-Domeh refer to NOTE 10, page 93.
ExampleS
Study 1 59
MEASURE 5
Beat 1 Since this beat is forte with an accent, use a large Shakui, or an
energetic Sen-nyu followed by Haneage to spring frorn the Point.
Beats 2 & 3 Heikin Undo. Watch the diminuendo.
MEASURE 6
Beat 3 Start with a small Tenzen and follow through with a large
Tengo to create an intermediate preparatory motion. (Ifyou wish to bring out the
bass line use Shakui on each beat. Ed.)
MEASURE 7
Beat 1 Use a large Shakui motion. Sen-nyu is a useful alternative.
Beats 2 & 3 Heikin Undo. (Note the diminuendo here, Ed.)
Example 6
MEASURE 8
i
Beat 1 Small Tataki-Domeh followed by
Shunkan Undo on the offbeat ( 1-); then stop at hold still
on I- of 2
the left-shoulder position. See Figure 42.
Beat 2 .Use Shunkan Undo again on this / ... _.\--~··@.\~~t

f orte chord; then stop at the centre-chest <!> motion
alone to
position. mark the
Beat 3 Shunkan Und o with the wrist count
alone (Kazutori) to mark the count.
Figure 42
NOTE 2 KAZUTORI (counting) is a sudden motion, a Shunkan Undo, made with the wrist or
baton alone. As the name implies, it is used to merely mark the beats or to keep the count. The
simplest and most convenient technique for marking the beats is Kazutori, used on a tutti rest or on
a note which is held for more than three beats if the tempo is steady and if there is no need to show
any expression.
As alternatives to the From-Point motion used above, here are two other
ways to show the forte chord in Measure 8, one way using Sen-nyu and the
other, Tataki.
(a) Using Sen-nyu

MEASURE 8
Beat 1 Use a small, light Tataki instead of
Tataki-Domeh, and follow the Point with a well-
defined bounce in the Tengo. See Figure 43.
Beat 2· Stiff Sen-nyu. Use Haneage off the
Point; then decelerate rapidly and stop.
Figure 43
Beat 3 Shunkan Undo with thewrist as
previously.
(h) Using Tataki

MEASURE 8
Beat 1 Tataki followed by a large rebound
Beat 2 Large, strang Tataki. Decelerate through the Tengo; then stop.
(This is Hando-Tataki-Domeh. See page 93. Ed.)
Beat 3 Shunkan Undo with the wrist as previously.
Because the pattern is so large, and especially because it is not easy to

keep the angle acute on Beat 2, the use of the usual Tataki on the forte
chord on Beat 2 of Measure 8 gives the players the illusion that the baton
motion is behind the beat. To remedy this problern. use Yokono Tataki on
the Point followed by Hando-Domeh. A more detailed explanation and the
execution of this technique can be found under Study 5, page 106.
In addition to the three methods given above, it is possible to use
Shunkan Undo on Beat 2, darting from the stop which follows Tataki on
Beat 1, but it is risky because the players find it very difficult to follow.
Study 1 61
As you can see, the. techniques acquired so far can be combined in a

variety of ways.
N.B. Be sure to stop the baton directly in front of YOlli body on Beat 2 of Measure 8. Be careful that it
does not stop on the right side. Since Beat 3 of Measure 8 and Beat 1 of Measure 9 are simply marked
with wrist motions, it is difficult to recognize them as a third and a first beat if they are made on the
right side. If you happen to stop on the right side after Beat 2, you must bring YOlli arm to the centre
to mark Beats 3 and 1; even if it means using a Frorn-Peint motion with YOlli arm on Beat 3 to return
to the central position. Beat 1 of Measure 9 must be made in the centre at about ehest height.
MEASURE 9
Beat 1 Use Wrist Tataki followed immediately with an arm motion
using Haneage for the Tengo. Beause this Haneage with the arm serves as
an intermediate preparatory motion for Beat 2, it must be made deliberately
and with precision. In this particular case the Haneage motion of the arm
must show how much ritardando will follow on Beat 2.
Beat 2 Use Shakui with a well-defined Point. The deceleration in the
Tengo shows the ritardando and is extremely important because it prepares
for the subdivision wh.ich folIows. The Tengo of Beat 2 continues moving
and decelerating in the same direction until the offbeat ( I- ), then the Tenzen
of Beat 3 begins with the change in the direction of the arm motion. Even a
momentary stop of the baton at this transition, caused if the distance
travelled during the Tengo of Beat 2 is too short, can be very harmful.
Beat 3 This beat is subdivided into two parts because of the ritardando.
Subdivision of the beat is used for ritardandos or for slow tempos; simply
divide the beat in two. For instance, if the quarter note is the unit of the beat,
conduct each eighth note. Each eighth note is counted separately; use Shakui
for each. This particular method of subdividing is called Type B Subdivision.
Refer to NOTE 4, below, for more about subdivision and its patterns.
MEASURE 10
For the fermata use shallow Oki-Domeh at the centre-shoulder position.
Notice that this note has a natural tendency to die away. The intermediate
preparatory motion for the next measure begins, as it did for the first
fermata, with Haneage, moving upward from the place where the baton
stopped. No reference to the grace notes will be made at this time.
~
..
NOTE 3 STOPPING THE BATON When it is necessary to stop the baton lor a fermata, for a
rest, or at the end 01 a piece, use Tataki-Domeh or Oki-Domeh, You can distinguish one from the
other by whether the motion has acceleration in the Tenzen belore stopping at the Point. Tataki-
Domeh accelerates to the stop; Oki-Domeh moves at a constant rate belore stopping. Seepage 31.
NOTE 4 SUBDIVISION is used mainly fOTritardandos. It is also used lor music in slow tempos.
Simply dictate each half 01 the basic beat.
Type A Subdivision This

Or
combina ti on of either
Tataki-Domeh or Oki- ~I- } TypeA
~ ~'.~
Domeh with a From-Point \~, Sub-
motion is very effective
~ division
~
for a slight ritardando. '----..--J
See Figure 44. Use Tataki
Type A Subdivision
into Beat 3 and stop on
the Point; then move Figure 44 Subdivision of Beat 3
again on the offbeat } of

Beat 3 using a From-Point Beats 1 & 2 are the
same as shown in
motion to show the
FormA
second eighth note. (Type Type B
"A" uses a From-Point motion on \..~ Subdivision
the offbeat. Ed.) ,./t><..~ ~ /)
3 ~
Type B Subdivision Use 2 ~ ~
light Tataki or Shakui. The

pattern takes two differ- Form i Formii
ent forms as determined
Place the offbeat of Beat 3
by the baton direction on
near the centre-chest
the second half of the beat. position
See Figure 45. (Type "B" uses
Figure 45 Subdivision 01 Beat 3
an Into-Point motion on the
olfbeat. Ed.)
(Select Type A or Type B Subdivision based upon the tempo 01 the passage. Cenerally, Type B
Subdivision is used in sJowtempos and Type A in faster ones. Ed.)
Study 1 63
CONDUCTING RITARDANDOS
The ritardando in Measure 9 can be made in two ways other than the Type B Subdivision sequence
described above: use Sen-nyu or Tataki.
Ritardando using Sen-nyu

Decelerate following the Shakui on Beat 2 as previously,
but now, instead of moving upward, move down ward and set a
Sen-nyu stopping motion on the offbeat ( \-) of Beat 2. Beat 3 is
""- AB Subdivision
divided as folIows: use a From-Point motion, Haneage, for the
first eighth note followed by an Into-Point motion like Shakui
~"
i ~ , /'
1 2
or light Tataki for the second eight note as in Type B ~
'·0
Subdivision. Since this technique uses a Frorn-Peint motion
followed by an Into-Point motion, it is called AB Subdivision.
Figure 46
See Figure 46.
In this technique, the Sen-nyu motion before Beat 3 divides Beat 2 into two parts, with Shakui
showing the first eighth note and the stopping motion of Sen-nyu showing the second. This technique,
which is given the special narne Bunkatsu-Sen-nyu, Subdividing Sen-nyu, can show a greater ritardando
because it subdivides the beat. See detailed instruction, NOTE 8 under Study 3, page 76. By the way, use
Shunkan Undo on the offbeat ( \-) of Beat 2 as you would in the usual Sen-nyu,
Making a great Ritardando

. H you use Type A Subdivision on Beat 1 in Measure 9, you can have complete control over the
amount of ritardando on Beat 2 and those beats which follow. Use Tataki-Domeh on Beat 1. Use
Haneage on the offbeat ( \-) and decelerate to show thechange of tempo, which begins on Beat 2, by
the duration of the stop after the Tataki-Domeh, andby the rate of the deceleration.
Use the following procedure if you prefer to dicta te each eighth note on Beat 2 in Measure 9:
Beat 1 Type A Subdivision
Beat 2 Hard Tataki or Shakui
Beat 3 Type B Subdivision. or Tataki, or Shakui
If you use Type A Subdivision for each of the three beats in this measure, you will create a
series of Frorn-Peint motions which will look stilted. H you wish to divide Beats 2 or 3, Type B
Subdivision is recommended. You can eliminate the subdivision and use Tataki or Shakui to make
the conducting motion look smoother, neater, and consequently easier to follow. lt is also possible
to use Tataki on all these beats. Tataki is always effective, particularly for great ritardandos.
CONDUCTING FERMATAS
When you conduct fermatas it is not a matter of merely holding a note. You must decide
beforehand how long it will be sustained. When the fermata has a diminuendo, gradually lower
the baten. For a tenuto, hold the baton motionless in one place. When a crescendo is part of the
fermata, raise the baton gradually or hold it in one place and shake it by tensing your arm muscle.
Since the final fermata in Section [Bl is a tenuto, just hold the baton still. There are two different
ways, depending upon the demands of the music, to proceed following a fermata. The first has a
definite cut-off before the next note. The second has no break between the fermata and the note
which folIows. Our exarnple is of the latter case. This ferrnata should not be held too long and
there should be no definite break after the ferrnata. To make a cut-off following a fermata, use a
quick small motion precisely when you want the sound to stop. Accordingly, any simiJar, careless
motion made during a fermata will unintentionally cut off the note.
SECTION [Cl
Example 7
Start on Beat 3 of the fermata with an intermediate preparatory motion,

identical to that used at the beginning of the study to show Beat 1 of this
Measure 1. The rest of this section, except for the last measure, can be
conducted in the same mann er as Seetion [Al.
Study 1 65
THE FINAL MEASURE Conduct the smorzando using the procedure

described below. The smorzando, a fusion of a ritardando and a dirninuendo,
is also called a calando.
Beat 1 Make a larger than usual Tengo
Cut-off
with gradual deceleration.
Beat 2 Type B Subdivision using a
swinging motion like Shakui, but having a
more even speed like Heikin Undo.
Beat 3 Use the same kind of Heikin Undo-
like Shakui motion without subdivision; de- Figure 47
celerate rapidly and stretch out the motion until
the final cut-off, which is best made at about the
centre-shoulder position. See Figure 47.
STUDY 2
- Applica tion of Shakui -
No. 26 in the Sonatina Album, THEME FROM "IMPROMPTU" by Schubert, in 4/4,

M.M. J = 60 - 69 ( J = 69 seems best)
The principal motion used in this piece is Shakui. Naturally, you should
use Tataki instead of Shakui to show a strong accent or adynamie change to
forte Sen-nyu can be used to show the accents even more strongly. On the
.other hand, Heikin Undo is more appropriate for legato passages. In Shakui
and Tataki the rate of acceleration is proportionate to the weight of the
accents. (The term "hard" Shakui describes a motionwith a greater rate of acceleration and
thereby a greater striking speed and force than "soft" Shakui. Ed.)
SECTION [A]
Example8
Since, as the accompaniment pattern shows, Beats 1 and 3 have stronger

accents than Beats 2 and 4, it is better to use a slightly harder Shakui for
Beats 1 and 3.
PREPARATORY MOTION: Haneage from the preparatory position.
MEASURE 1 All beats Shakui; stronger on Beats 1 and 3.
MEASURE 2
Beats 1 & 2 Shakui
Beat 3 ShalIow Sen-nyu or hard Sha-
kui. Stretch the Tengo.
Beat 4 Intermediate preparatory mo-
tion. See Figure 48. The shaliow Sen-nyu
shows a fairly strong accent on Beat 3. In
order to allow sufficient room to sustain the
Intermediate
motion through the half note, move Preparatory
-, :I
leftward to, or even slightly beyond, the
place where the Tengo of Beat 2 would
Figure 48
normally end before setting the Sen-nyu.
Alternatively, hard Shakui can be used on Beat 3, but if you use it, move the
Tengo of Beat 2 as far as possible to the left, stretching throughout the entire
length of the beat, so that there is enough room to accelerate more into Beat 3.
67
MEASURE 3
Beats 1 & 2 Shakui
Beat 3 Sharp Shakui. Prepare for this by stretching the previous
Tengo as in Measure 2. (The term "sharp" is used to suggest that the motion will have more
acceIeration and deceIeration than usual. Ed.)
Beat 4 Shallow Sen-nyu. Sen-nyu is effective here since the sixteenth
rest preceding Beat 4 implies a sharp attack will follow. Of course, hard
Shakui is an alternative.
MEASURE 4
Beat 3 Shallow Sen-nyu. Then use Haneage to show the accent, and
stretch out the Tengo to sustain the note.
Beat 4 Type A Subdivision. i.e. Oki-Domeh on Beat 4 followed on the
offbeat ( 1-) by Haneage, which is also the intermediate preparatory motion
for the next beat.
According to the dynamic marking, ( c:=::: ====-), Beat 1 starts softly,
making it necessary to keep the Tengo of Beat 4 in the previous measure
low. Make a small Tenzen into Beat 1 of Measure 4. Since the melodic
contour of the inner voices suggests that Beats 3 & 4 of this measure require
a poco ritardando, set a shallow Sen-nyu for Beat 3. After springing from
the Point, decelerate rapidly and continue moving until you have heard the
note on the offbeat. Use Type A Subdivision on Beat 4.
Example9
MEASURE 5 Same as Measure 1
MEASURE 7 All beats Shakui. Pay attention to the crescendo and

decrescendo.
MEASURE 8
Beat 1 Shallow Sen-nyu with Heikin Undo in the Tengo.
Beat 2 Shakui
Beat 3 Shakui. Shallow Sen-nyu is fine too.
Beat 4 Intermediate preparatory motion. The melody on Beat 2 looks
best suited to Heikin Undo, but because of the dotted quarter note which
begins on Beat 1, use a clear Shakui to function like Hikkake.'
NOTE 5 CONDUCTING CRESCENDO AND DECRESCENDO

The crescendo and decrescendo here, like that on Beats 1 & 2 01 Measure 4, (an generally be
shown by gradually enlarging the pattern lor the crescendo and reducing it lor the decrescendo.
The duration 01 each beat must be kept constant regardless 01 the size 01 the pattern. Done
correctly, the size 01 the motion will be proportionate to the speed with which the motion is made,
and therelore to the rates of acceleration and deceleration.
NOTE 6 11fE FUNDAMENTAL RULE FOR CONDUCTING A RlTARDANDO

Showing a ritardando beg~ by making the deceleration in the preceding Tengo at a faster
rate and in a larger motion than usual. For example, the greater the deceleration and the more
rapidly the deceleration occurs on the beat preceding the ritardando, the greater the ritardando will
be.? Conversely, to make an accelerando, the less deceleration in the Tengo, the more accelerando
you can make,
SECTION [B]
Example 10
LBI
1 2 .--...
--. '-'
1 Editor's Note: This more deliberate motion on Beat 2 will help to define the Point and will make
it easier lor the players to place the eighth note on the offbeat. This motion can be made even more
c1ear by making a sharp twist of yeur wrist precisely on the Point.
2 Editor's Note: The arm slows rapidly but keeps moving: like pulling an elastic.
69
Since Measures 1 & 2 are to be played more Ioudly, at mezzo forte, you
must use a proportionately larger pattern. As one possible musical
interpretation, these two measures can be performed at a slightly faster tempo;
then begin slowing down gradually in Measure 3 and continue slowing
through Measure 4 to return to the original tempo at the beginning of Measure
5. Because of the change to G minor, Measures 1 & 2 are the climax of the piece.
MEASURE 1
Beat 1 Tataki, or an energetic, deep Sen-nyu.
Beat 2 Shakui
Beat 3 Tataki
Beat 4 Shakui
MEASURE 2
Beat 1 Tataki
Beat 2 Shakui
Beat 3 Tataki, or Sen-nyu with Haneage bursting from the Point.
Beat 4 Hikkake
The Sen-nyu on Beat 3 is the same as that of Beat 3 in Measure 2 of Section
[Al. The Hikkake is used on Beat 4 to direct the dotted rhythm, but it also
serves as an intermediate preparatory motion.
MEASURE 3 All beats Shakui. Make the pattern gradually smaller

because of the decrescendo.
MEASURE 4 Same as Measure 4 in Section [Al. If you want no ritardando

or only a slight one. do not subdivide Beat 4. If there is no subdivision, the
Tengo of Beat 4 serves as the intermediate preparatory motion for the next
(
measure.
Example 11
-------
5 . ..
1
70 The SaitoConducting Method
MEASURE 5 Same as Measure 5 in Seetion [A]
dynamic marking -= ====-

MEASURE 6 Same as Measure 6 in Seetion [A]. By comparison with the
throughout all of Measure 6 in Seetion [B]
there is only a short crescendo marking ( < *) on the third beat of Measure 6
meaning as the -= ====-

in Section [A]. The short crescendo sign* alone has virtually the same
written in Seetion [B]. In other words, Beats 1
& 2 in Measure 6 of Section [A] have a natural crescendo just like those in
Seetion [Bl. There should be a natural diminuendo at the end of the
measure in Seetion [A] too. This is the characteristic phrasing of the
passage. (If you want to bring out the grace notes on Beat 2 the six notes on Beat 2
will become like a slightly accelerated sextuplet, and it is better, therefore, to direct the
flow of the notes with Shakui than the less flexible Sen-nyu into Beat 3. M.Okabel
• N.B. The < implies that there is an accent, », at the peak of the crescendo. In Measure 6 of
Section [B] consider making a rapid diminuendo on Beats 3 & 41eading to pianissimo in Measure 7.
MEASURE 7 Same as Measure 7 in Seetion [Al, but gradually make the

pattern larger to show the crescendo.
MEASURE 8 Same as Measure 8 in Section [A]. Since the sudden piano

follows a crescendo in the previous measure, set the Sen-nyu with a small
motion before Beat 1. Continue with a small Tengo and keep the pattern
small for the rest of the measure.
THE CODA
Example 12
2J.~
Study 2 71
MEASURE 1 Same as the previous measure, but now it is pianissimo.

Since the smorzando begins here, make a rapiddece1eration after the Point
of Beat 3 to show the ritardando, and use a small Hikkake on Beat 4 to
function as an intermediate preparatory motion.
MEASURE 2
Beat 1 Small Shakui
Beat 2 Type B Subdivision
Beat 3 Shakui or Heikin Undo. Follow
with a very short upward Tengo and stop
immediate1y. This stopping motion is called
Hando-Oki-Domeh. See NOTE 10, page 93 Figure 49
After making a small Hando-Oki-Domeh, lower the baton gradually for

the diminuendo. Continueto count Beats 3 and 4 with care, in YOUT head,
and make a cut-off at the end of Beat 4. Since it is advisab1e to end with
YOUT baton direetly in front of YOUT body. as you wou1d when eondueting a
fermata, change the direetion of the motion of the subdivision on the offbeat
( 1-) as shown in Figure 49. Begin the offbeat of Beat 2 at the 1eft-waist or
1eft-ehest position. On Beat 3 move to the eentre-ehest or eentre-shou1der
position and use Hando-Oki-Domeh.
To make it easier to move your arm, you

may
opposite
take the motion on the subdivision
side: to your right side. See Figure 50.
to the
11\·.· ·_..__·..··
.. .
(Lefthanded conductors move to the left side. Ed.) A beat
whieh oceurs
ort the "wrong"
at the end of a piece ean be made
side of the body.
V~
.. on the
Il!
same path
Figure 50
N.B. Although the principal technique here is Shakui, you can give more bounce 10 the
accompaniment rhythm if you use Haneage instead, Generally,it is best to use Haneage when the
music is legato and has a steady, rhythmical accompaniment. However, it is more difficult 10
conduct thia way, and you should try it only after you have mastered Haneage, practising it as
presented later in this book.
STUDY 3
- Application of Sen-nyu and Dotted Sen-ny -
No. 20 in the Sonatina Album, ANDANTE GRAZIOSO by J. Haydn
The term "grazioso" is generally interpreted to mean "with grace", but it

should be understood to mean "with a graceful motion." When you say
"with grace" it seems to imply something like "dolce" or "espressivo", but
"grazioso" implies motion as its main element. In music, this motion
obviously refers to the rhythm. Therefore the rhythmic element is much
more important in interpreting "grazioso" than it is in interpreting "dolce".
In other words, "grazioso" means graceful rhythmic motion. The important
idea here is that rhythm is the chief element. Music marked "grazioso" must
fIow gently, with grace, from note to note, and with recurring accents
throughout. These accents are inherently soft.
Shakui is the most appropriate principal style for conducting this study
marked "grazioso." Tataki would be too hard and Heikin Undo would be
too soft. If Shakui is to be used, it should be made in a sideways motion, as
explained in the section on basic technique.
However, let us examine the initial "Andante grazioso" marking and
suppose the tempo to be about M.M. J = 60. If you try to conduct briefly with
Shakui at this tempo you will soon discover that the baton moves too slowly
and lacks definition, making the whole motion appear very awkward. What
then, if we follow the principle of subdivision for music in slow tempos (See
Study 1, NOTE 4, page 62) and conduct this piece in four so that each eighth
note receives one beat? Unfortunately, this procedure fails because it looks
very rushed and uneasy, and it lacks clarity.
Actually, the ideal technique for moderately slow
music such as this is Sen-nyu. Not only does the
the Sen-nyu technique allow you to show the
primary Point, but also the stopping motion allows
you to distinctly show the offbeat ( 1-). Now, with
sideways two-beat Sen-nyu selected to conduct this
study, we can proceed.
Figure 51
5tudy 3 73
By the way, use of a shallow stopping motion in the pattern for this
sideways Sen-nyu allows sufficient space for the larger Tengo motion. See
Figure 51. This pattern appropriately suggests the character of the long.
sustained notes.
Example 13
SECTION [Al (Measures 1 to 8)
MEASURE 1 Use a clear and precise! preparatory motion from the

preparatory position. The preparatory position for this sideways-motion-in-
two is off to the right of the basic position, i.e., at the right-waist position.
Beat 1 Sen-nyu
Beat 2 Very shallow Sen-nyu. Sen-Nyu - -~I
~ CD
NOTE 7 DOTIED SEN-NYU is a variation of Sen-
nyu. lt is modified so that the stopping motion occurs Dotted Sen- ~ _---------.1
three-quarters of the way through the beat. In the usuaJ Nyu ~ 0@
Sen-nyu the stopping motion occurs on the offbeat ( 1-),

halfway through the beat. (TheliteraI translationis "Half
Figure 52
Sen-nyu". Ed.)
It is evident that the doubly dotted eighth note in the melody in Measure 1
has an intrinsic tenuto character. The general idea is that, when you wish to
show such a sustained note, it is better to lengthen the Tengo in a single
direction rather than change it. For more about "stretching a note" see NOTE 15
I Editor's note: The terms "dear and precise" imply that the duration of the motion is unmistakable
because the motion is suffidently large, with enough speed at the beginning of the motion, and
with adequate deceleration to rellect the character of the sound but not so great as to be
imperceptible at the end.
under Study 6, page 80. To aJlow travel for the maximum possible distance
during the Tengo of Beat 1, the stopping motion following Beat 2 will need to
be very shallow. Dotted Sen-nyu is, after all, a way to exaggerate the stretching
function of Sen-nyu. Moreover, for the sake of convenience, the thirty-second
note which follows the doubly dotted eighth note can even be considered a
grace note, which effectively makes a quarter note of the note on Beat 1 and
increases the need to stretch the Tengo of Beat 1.
MEASURE 2
Beat 1 Sen-nyu. Since the last eighth note in the previous measure is
staccato, a slightly sharper Sen-nyu may be used, but maintain the shallow
stopping motion.
Beat 2 Sen-nyu. Make the Tengo slightly smaller because this is the
phrase ending, which is characteristically softer.
MEASURE 3
Beat 1 Sen-nyu. Make the stopping motion shallow to indicate the
beginning of the crescendo.
Beat 2 Sen-nyu. Make the pattern a little larger after the Point.!
MEASURE 4
Beat 1 Sen-nyu, Make the stopping motion a little sharper.
Beat 2 Very shallow Sen-nyu. Since this measure is legato and has a
slight diminuendo, use more deceleration in the Tengo.
1 Special Note from Prof. Okabe: Sen-nyu is not sirnply any conducting motion which uses a stop on
the offbeat. The purpose of Sen-nyu is to create a sharper attack on that note which starts on the Sen-
nyu beat or, more precisely, which starts on the beat where the From-Point motion is made: It follows
then, that the Tengos of each beat must decelerate like those ofInto-Point motions and must end at a
position which will anticipate the volume of the note to follow. Therefore, by making a larger Tengo
for Beat 2 in Measure 3, the Sen-nyu on Beat 1 in Measure 4 becomes a bit sharper.
Study 3 75
Example 14
MEASURE 5
Beat 1 Dotted Sen-nyu. Stretch the note like that of Beat 1 of Measure
1, but make the pattern larger because of the crescendo.
Beat 2 Shallow Sen-nyu.
MEASURE 6
Beat 1 Sen-nyu. Since it is forte, make an energetic stopping motion.
Stretch the Tengo as in Measure 5.
Beat 2 Very shallow Sen-nyu.!
MEASURE 7
Beat 1 Subdividing Sen-nyu. Make the pattern gradually smaller
through Measures 7 and 8 to show the diminuendo.
Beat 2 Subdividing Sen-nyu.
MEASURE 8
Beat 1 Subdividing Sen-nyu.
Beat 2 Sen-nyu. After a shallow stopping motion, use a Haneage-type
motion from the Point to serve as an intermediate preparatory motion. (See
the Editor's Note at the bottom of page 83. Ed.)
1 Special Note from Prof. Okabe: You can use a Dotted Sen-nyu on Beat 2 of Measures 1,5 and 6
but that procedure will tend to make the eighth notes in the bass imprecise. (Remember that the
stopping motion for the Sen-nyu burst on Beat 2 is made at the end of Beat 1. Ed.)
NOTE 8 SUBDIVIDING SEN-NYU is a type of Sen-nyu

which uses Tataki-Domeh, made with acceleration, as the
stopping motion. See Figure 53. By comparison, the stopping
motion of ordinary Sen-nyu is a Shunkan Undo with no
acceleration. Since this accelerating stopping motion creates
the feeling of an additional aeeent on the note where it is used,
Subdividing Sen-yu is suitable for emphasizing syncopations
or for showing ritardandos. An exarnple for this latter use was
Figure 53
presented in NOTE 4 under Study 1, page 62. The amount of
accent you wish to show on the offbeat note dictates the. strength and energy of the Tataki-Dorneh.
Incidentally, this Subdividing Sen-nyu motion resembles Type A Subdivision repeated over and
over again but the two motions are inverted.! See NOTE 4, page 62.
SECTION [B] (after the repeat sign)
Example 15
MEASURE 1
Beat 1 Sen-nyu
Beat 2 Shallow Sen-nyu. Although there are doubly dotted eighth
notes in the bass, the rhythm of the melody dominates the bass line at this
point, and therefore shallow Sen-nyu is preferred over the Dotted Sen-nyu.
1 Editor's Note: In Type A Subdivision the lnto-Point motion precedes the Frorn-Peint motion,
whereas in this Subdividing Sen-nyu the From-Point motion comes first.
Study 3 77
MEASURE 2 Same as Measure 2 of Section [Al.
MEASURE 3 Same as Measure 1 of Section [B],but observe the crescendo.
MEASURE 4
Beat 1 Sen-nyu
Beat 2 Sen-nyu with a shallow stopping motion. Use a weU-defined
Haneage from the Point to serve as apreparatory motion for the mezzo
forte Auftakt.
MEASURE 5
Beat 1 Subdividing Sen-nyu, i.e., use Tataki on the mezzo forte
Auftakt.
Beat 2 ShaUow Sen-nyu
MEASURE 6 Same as Measure 5, immediately above.
MEASURE 7
Beat 1 Shallow Sen-nyu. Avoid using a sharp motion from the Point.
Increase the size of the motion to show the crescendo.
Beat 2 Sen-nyu
MEASURE 8 Same as Measure4 of Section [Al.
Example 16
MEASURE 9 to the END Conduct as in Seetion [A). Measures 14, 15 and 16

of Seetion [B) are conducted like Measures 6, 7 and 8 of Seetion [A).
MEASURE 16, on the repeat

Beat 1 Subdividing Sen-nyu
Beat 2 Sen-nyu. Use a Fro m-Point motion off the Point. Stop
immediately and make a cut-off. See also NOTE 14 under Study 6, page 79.
STUDY 4
- Application of Tataki -
No. 21 in the Sonatina Album, ALLEGRO, in 2/4, by I.Haydn
Because this piece is in a fast tempo and has clearly defined rhythms,
three different conducting techniques are suitable for conducting it.
1. Shunkan Undo using the wrist alone. Refer to Part 1, Basic Technique,
page 39.
2. Haneage. This motion originates at the Point like Shunkan Undo. After
the initial burst, decelerate throughout the beat to the next Point, where
the Haneage is repeated. Take great eare to avoid any acceleration.
Method A: Burst, Haneage, upward from the Point and decelerate.
Continue decelerating as you move downward and retraee the path back to
the Point. As the baton approaches the Point, eontinue to siow down but
avoid a eomplete stop. See Figure 54A.
Method B: As you did in Method
A, burst from the Point and decelerate.
But, this time, instead of returning to ~\ ___ -d'd
the location of the original Point for
the next beat, eontinue moving in one
direetion in, an are to place the seeond backandforthalong
thissamepath
beat to the right of the first beat. In
other words, the location of the second A B
beat is the same as the second beat in Figure 54
Shunkan Undo in two. See Figure 54B.
Study 4 79
Both of these types of Haneage are executed with a wrist or an arm

motion. Their patterns may somewhat resemble those of Tataki, but this
Haneage motion continues to decelerate throughout the Tenzen. There
must be absolutely no acceleration in the Tenzen or it will become Tataki.
Because of this, the secondary Point ( J.. ) in Haneage is located near the
bottom of the motion, elose to the next beat, almost like that of Sen-nyu:
rather than at the apex, like that of Tataki.
N.B. If the baton motion is too fast and without suffident deceleration, you will reach the next
Point too early, and then you will have to wait idly between motions. This undesirable cessation of
the motion makes the Haneage look like indecisive Sen-nyu. You must pay special attention to the
deceleration after each Haneage burst to be sure that this never happens. Refer also to Part 1, page
47, for the detailed desaiption of Haneage.
3. Tataki. In this case, use hard Tataki with some wrist Tataki. Make the
Tataki sharply with rather small motions in the Tenzen and the Tengo.
See NOTE 9, below. Use either vertical or sideways Tataki for this piece.
NOTE 9 SIZE OF THE CONDUCI1NG MOTION

As a general rule, the pattern should be large for legato music, particularly legato espressivo,
and small for staccato and very rhythrnic music. Remember, too, that the dynamic level is also
expressed by the size of the pattern. See NOTE 5 under Study 2, page 68. In other words, the size
of the pattern shows both the dynamic level and the legato or non-legato character of the piece.
Consequently, even for music at the same dynamic level, the pattern may be smaller if it is staccato
and larger if legato.
Under certain drcumstances, depending upon the sensitivity of the players at any given time,
either one of these aspects can be disregarded. For example, when the music calls for non-legato
forte playing, and for one reason or another you can presume that the players will continue to play
forte, you may want to reduce the size of the pattern to emphasize the non-Iegato character of the
music, On the other hand, if the music has been and will continue to be non-legato, then enlarging
the size of the pattern will show appropriately the forte dynamic. Moreover, the addition of various
baton movements and positions and use of the left hand will help to clarify your expression of
dynamics and the degree of the legato character of the line.
Among the three possible techniques explained above, the first, using
Shunkan Undo with the wrist, is suitable only when the tempo is J = 160 or
faster. On the other hand, if you use Tataki for tempos of J = 160 or faster
it become inereasingly difficult to exeeute the proper acceleration and
deceleration, and, from the players' point of view, it gives the Tengo and
Tenzen motion too much emphasis without a precise placement of the
Points. To remedy this problern. you must foeus your attention on showing
the Points with precision and must eliminate a11other motions which would
only eonfuse the players. This is precisely the reason why Shunkan Undo,
particularly that using wrist motion alone, is most suitable. After a11,the
purpose of using acceleration and deeeieration is to show how one Point is
connected to the next and what needs to happen during that time. When
the duration between successive Points beeomes short, it is sufficient to
make only the Points in the appropriate pattern without being concemed
with anyparticulars between the Points.
N.B. While Shunkan Undo can show the precise Points, it is not capable of controlling the tempo.
Remember that it canbe used onJy when the tempo is regular and steady.
If you wish to take this piece at J = 160 or faster, use the first technique.
For slower tempos use either Teehnique 2 or 3, above.
Let us conduct this piece at about M.M. J = 80 - 100 using the third
technique, namely vertieal Tataki. However, use of a single teehnique, even
though it will adequately show a regular rhythm, is not neeessarily sensible
if you wish diversity in the melodie charaeter. In conducting this study,
therefore, you must remain flexible and select an appropriate teehnique for
a partieular passage, within the limits of Tataki.
SECTION [Al
Example 17
Study 4 81
This piece begins with an Auftakt on the second half of Beat 2, We shall
use apreparatory motion as described in Part I (pages 19 and 20), i.e.
beginning the preparatory motion on Beat 1, which is one and one-half beats
before the Auftakt. As explained in Part I, the usual complete preparatory
motion. involving both acceleration and deceleration, would undoubtedly
tempt the players to start playing too early, so that Kazuiori must be used on
Beat 1. Please refer to the seetion on preparatory motion, page 203 in the
Addenda, for a detailed explanation of this subject and see NOTE 2 on page
60 regarding Kazuiori.
MEASURE OF THE AUFTAKT

Beat 1 Kazutori with the wrist alone in a down ward motion.
Beat 2 Hikkake made witha sharp arm motion. The useof this arm
motion, to make the Hikkake more clear for the Auftakt, is useful not only
at the beginning of the piece but anywhere within it.
MEASURE 1 Use sharp Tataki for both beats. (The term "sharp" indicates that the
arm is moving very fast when it strikes the Point. Ed.)
MEASURE 2
Beat 1 Hando-Dorneh, used to sustain the quarter note in the
accompaniment for its full value. See NOTE 10, page 93.
Beat 2 Hikkake, used to c1early show the eighth note in the bass Iine
which follows. Use an arm motion to make the Hikkake clear. This
principle applies to any similar situation with Hikkake.
MEASURE 3 Use sharp Tataki for both beats.
MEASURE 4 Same as Measure 2. Note that the Auftakt, which begins the
next phrase of the melody, is in this measure.
Example 18
MEASURE 7 Tataki on both beats.
MEASURE 8
Beat 1- Tataki
Beat 2 Hikkake, made clearly to define the Auftakt on the offbeat of
Beat 2. (Uyou choose to use a V-shaped pattern to conduct the following passage, make the
Hikkake to the left. Ed.)
SECTION [B]
Example 19
MEASURE 1
Beat 1 Tataki. Because of the staccato character of the music here, it is

not a good idea to make the pattern too large even though the dynarnic is
forte. (Uyou choose to use the V-shaped pattern, turn YOUf wrist sharply on the Point. Ed.)
Beat 2 Tataki
MEASURE 2 Same as Measure 8 in Section [A].
MEASURE 3 Same as Measure 1 in Section [B].

Study 4 83
MEASURE 4
Beat 1 Tataki
Beat 2 Hikkake. It requires a very clear Hikkake, or Haneage, to show
the accent on the syncopation which leans across Beat 1 in Measure 5.
(ResurnetheverticalpatternonBeat2. Ed.)
Example20
MEASURE 5
Beat 1 Haneage is preferable because it will show the accents on the
offbeat without allowing the motion to go too high.
Beat 2 Haneage
MEASURE 6
Beat 1 Haneage
Beat 2 Haneage. Make the motion small because the dynamic
becomes piano beginning at the offbeat of Beat 2, the Auftakt for Measure 7.
MEASURE 7 Tataki for both beats. Since this measure is at a piano level,
begin with a very sm all pattern and gradually make it larger for the
crescendo. As explained previously, avoid making it too large because the
character of the music is staccato.
MEASURE 8
Beat 1 Tataki
Beat 2 Tataki with a small Tenzen. (A smallTenzenherecontraststo thelarger
HaneagemotionwhichfolIows.M. Okabe) For the Auftakt, bounce sharply with a
Haneage-type motion! from the Point. Since this Haneage-type motion also
! Editor's Note: Theterm"Haneage-typemotion"refersto a motionthatspringsfromthe Point

anddecelerateslikeHaneage,butthedecelerating
TengoendsbeforethenextPoint.
serves as apreparatory motion for the chord on Beat 1 of the following

measure, it must be made clearly.
MEASURE 9
Beat 1 Tataki, with a hint of Hikkake in the Tengo to show the
syncopation in the melody. It is not necessary to add extra acceleration in
the Tenzen of Beat 1 to emphasize the chord in the bass, as long as it has
been cued by the preparatory motion in the Tengo of the previous beat.
(Make the Preparatory motion by' raising the baton higher in Tengo 01 the previous Beat 2. Ed.)
Beat 2 Hikkake
MEASURE 10 Both beats Hikkake, The Hikkake on Beat 2 not only shows
the Auftakt but it also serves as apreparatory motion for the chord in the
next measure. Since this offbeat is at a piano level, keep the pattern small.
MEASURE 11 Same as Measure 9, but piano.
Example21
MEASURES 13 through 16 Use

Haneage-in-one for each measure
because an implied accent on the
quarter note on the first beat of each
measure should be emphasized. It
makes it easier for the players to Back and forth along
thesamepath
follow if you bounce up slightly to
the right in the Tengo, rather than Figure 55A Figure 55B
5tudy 4 85
moving straight upward. See Figure 55A. (It is easier if you make the motion egg-
shaped. See Figure 55B. M. Okabe)
Beginning in Measure 13 the pattern must gradually grow larger to

reinforce the crescendo.
MEASURE 17 Both beats Hikkake
MEASURE 18 Both beats Hikkake as above, but the pattern becomes

gradually smaller because of the diminuendo.
SECTION [Cl
Example22
MEASURES1 through 7 Conduct in the same manner as the corresponding

measures in Section [Al, except for a crescendo starting in Measure 5. There
is no need to use Hikkake in Measure 6 as you did in Section [Al.
Example 23
MEASVRE 8
Beat 1Tataki-Domeh (Use Hando-Tataki-Domeh. The bounce will show the note
This teehnique is used beeause the quarter notes oeeur in both
length. Ed.)
the melody and the aecompaniment, and they are the final notes in the
phrase.
Beat 2 Hikkake
MEASVRE 9 Both beats Tataki, but not too hard.
MEASVRE 10 Same as Measure 8. (But Oki-Domeh is preferred for Beat 1

beeause of the soft dynamie. M. Okabe)
MEASURE 11 Tataki on both beats.
MEASURES 12 through 15 Use Haneage-in-one for eaeh measure. This

procedure resembles that used in Measures 13 through 16 of Section [Bl, but
beeause there is an accent on the offbeat of Beat 1 in each measure. start the
motion at a faster speed so that the motion resembles Hikkake. In addition,
indicate the alternating forte and piano by the ehanging the size of the
pattern.
MEASURE 16
Beat 1 Tataki with a small Tenzen. Make a very large Tengo using a
Haneage-type motion to serve as apreparatory motion for the fortissimo
chord which folIows.
Beat 2 Large Tataki
MEASVRE 17 Large Tataki on both beats.
MEASVRE 18
Beat 1 Tataki-Domeh We have used Tataki as the principal technique
for this study. Sinee you often need to eonduct this kind of music using
Shunkan Undo with the wrist, or with an arm rnotion, as described in the
first of the three techniques listed at the beginning of this study, you are
advised to practice this study using that technique too.
Study 5 87
STUDY 5
No. 25 in the SonatinaAlbum,ANDANTE CANT ABILE CON MOrD, in 3/8 from the
First Symphony by Ludwig von BeethovenThe orchestralscore indicatesa tempo of
M.M. 1> = 120. .
The symphony begins with the second violins. The cellos a!'d violas
enter in Measure 6, the left hand in the piano part, and the double basses
and the bassoons enter in Measure 10. In Measure 12, the first violins and
flutes enter in a fugal manner. This music, which starts with an Auftakt on
the third beat in tripie metre, requires an accent or a clear attack. on the third
beat in each measure in addition to the natural stress on the first beat.
Sometimes it is necessary to give a stronger accent or a clearer attack to the
Auftakt than to the first beat. In other words, first beats become weaker and
softer than the Auftakts. In either case, the second beats are the weakest
and lightest. These are deviations from the usual accent pattern in tripie
metre: strong-weak-weak.
Since this piece maintains Example 24
strict rhythm throughout, there is
no need to use large motions.
Small motions are preferred.
Apply the basic rule about the
size of the pattern: small for
pieces with strong rhythms; large
for legato espressivo. See NOTE 9,
page 79.
PREPARATORY MOTION Begin on Beat 2 with an energetic Haneage-type

motion to prepare for the accented Auftakt on the third beat. Decelerate
through one half of the beat and set a very shallow Sen-nyu with a stopping
motion on the offbeat of Beat 2 in preparation for Beat 3. Replace the usual
stopping motion, made downward. with one that resembles puncturing
something with a needle. While making the preparatory motion be very
careful not to allow your arm motion to accelerate, not to make a large wrist
motion, or not to use more than a small motion to stop. The small stopping
motion should be made at the fingertips or at most with the wrist. See Part
I, Sen-nyu (A), Figure 33 on page 44.
Beat 3, the Auftakt Sen-nyu using a Haneage-type motion off the Point.
MEASURE 1
Beat 1 Shallow Hando-Tataki-Domeh, See NOTE 10, page 93.
Beat 2 Either Haneage as apreparatory motion for the third beat
Auftakt (Figure 56A), or Shakui created by adding a slight acceleration in
the Tenzen (Figure 56B). See SPECIAL NOTE 1, page 98.
Beat 3 Sen-nyu with a Haneage-type motion from the Point, identical
to the initial Auftakt.
A B
J(~
\ 1
Hando-Domeh
_.
(~
«<:
Alternative:
~
the I- of 2, and 3 are

identical1056A
Figure 56
MEASURE 2 Same as Measure 1. As an alternative, these two measures

can be conducted as follows:
Beat 1 Shallow Hando-Tataki-Domeh
Beat 2 Shunkan Undo
Beat 3 Haneage
MEASURE 3 Wrist Tataki on all beats. Since each beat has an equal accent
and all notes are to be articulated with a sharp staccato, use the hardest
possible Tataki. (Remember to keep the motion small. Ed.)
Alternative way
Beat 1 Tataki-Domeh
Beats 2 & 3 Wrist Shunkan Undo
Study 5 89
Example 25
MEASURE 4
Beat 1 Wrist Tataki, the same
as Measure 2.
Beat 2 Same as abo ve, but
crea te a preparatory motion for the
Auftakt on Beat 3 by using
Haneage on the Point.
Beat 3 Heikin Undo
Because the music becomes legato at this Auftakt, the entrance must be very
smooth and with virtually no attack. Use Haneage in the Tengo of Beat 2 to
create a clear preparatory motion. Use Heikin Undo to create a soft Tenzen for
Beat 3. (Since this is a legato motion be careful not to slow the tempo. Ed.)
MEASURE 5 Use Namigata Heikin Undo for all beats. This is a very soft,
wave-like form of Heikin Undo. See NOTE 11, page 94.
MEASURE 6
Beat 1 Hando-Oki-Domeh. Continue through the Tenzen with the
Heikin Undo begun in the previous measure, and use a very soft Hando-
Domeh on the Point.
Beat 2 Hikkake
Beat 3 Sen-nyu or Tataki.
Use the same preparatory motion from Beat 2 to prepare for the Beat 3
Auftakt that you used in the beginning. It is done this way because the first
beat of Measure 6 is a dotted eighth note followed by a sixteeth note, after
which the melody shifts to another voice. Dictate this rhythm using a very
soft Oki-Domeh on the first beat, and then use Hikkake on the Point of Beat
2 to give an impulse for the sixteenth note which is on the offbeat. Use a
distinct Sen-nyu 9n Beat 3, as at the beginning, to show the viola and cello
entrance on the Auftakt, written in the left hand of this piano version.
N.B. Similar passages of music should be conducted using the same motions. This procedure
makes the conducting simple and clear, and results in uniformity in the phrasing.
Example26
MEASURE 10 Same as Measure 1. Because there are more instruments

playing, Shakui can be used for the entrance on Beat 3.
N.B. The double basses and the bassoons enter on Beat 3.
MEASURE 11 Tataki on all beats. Tataki is used because, from 'this

measure onward, the rhythm of the inner voices becomes important.
MEASURE 12 Tataki on all beats. The Tatakis on Beats 1 and 2 must be

similar to those in the previous measure. To prepare for the entry of the
violins and flutes on Beat 3, bounce from Beat 2 to create apreparatory
motion.
Example27
Study 5 91
MEASURE 13 All beats Tataki
MEASURE 16
Beat 1 Tataki
Beat 2 Tataki. Create apreparatory motion by using Haneage from the
Point.
Beat 3 Shakui. Although the dynamic level from Measures 12 to 16 is
soft, maintain a large pattern because the number of instruments playing is
increasing.
MEASURE 17 All beats Shakui or Haneage
MEASURE 18
Beat 1 Shakui. Sustain the motion.
Beat 2 Shakui with Wrist Hikkake added on the Point.
Beat 3 Shakui. It is not necessary to use Sen-nyu here because, unlike
Beat 3 in Measure 6, this is not the beginning of a new phrase. Although
Shakui is used throughout qtis measure, Beat 2 requires the addition of
Wrist Hikkake to facilitate the execution of the dotted rhythm, Since the
accompaniment consists of sixteenth notes, it is not suitable to use Hando-
Domeh on Beat 1.
Example28
MEASURE 19
Beat 1 Hando-Domeh with light Wrist Tataki, identical to Beat 1 of
Measure6.
Beat 2 Haneage-type motion. This is an intermediate preparatory
motion.
Beat 3 Tataki. It is important that you maintain a steady tempo here
while attending to the continuing flow of the sixteenth notes in the inner
voice which started in Measure 17.· Use light Tataki or Shakui rather than
Heikin Undo to keep the rhythm moving. Pay special attention to the
Haneage on Beat 2 because it is easy to lose control on the sixteenth note
rhythm.
MEASURE 20
Beat 1 Large. strong Tataki for the sforzando. Prepare for the
sforzando by making a large motion in the Tengo of Beat 3 in Measure 19 so
that it is possible to have enough acceleration to create a sharp attack on the
Point.
Beat 2 Light but distinct Tataki. Observe the dotted sixteenth note in
the melody.
Beat 3 Light, distinct Tataki. (Make the motion "distinct" by accelerating
sufficiently 10 make a significant contrast between the initial and final speeds. Ed.)
Beat 1 Light Tataki. Make a large Tengo to prepare for the sforzando
on Beat 2.
Beat 2 Large, strong Tataki
Beat 3 Light, disinct Tataki

Study 5 93
MEASURE 25
Beat 1 Large Tataki
Beats 2 & 3 Large Tataki because the passage ends here on the loud
homophonic chords.
MEASURE 26
Beat 1 Tataki-Domeh, but not too sharp.
Beat 2 Haneage-type motion as apreparatory motion for Beat 3
Beat 3 Sen-nyu or Shakui
SPECIAL NOTES
1. The length of the stopped motion after the Tataki-Domeh on Beat 1 should be equal to, or
longer than, one beat in the tempo which follows it. The music requires that you take an extra
bit of time to create a breathing space by separating the first theme, which ends on Beat 1, from
the new phrase which begins on Beat 3. Make the preparatory motion for the new phrase on
Beat 3 in the new tempo, using Haneage off the Point of Beat 2. Technically speaking then, you
must create the breathing space by waiting slightly longer after stopping the baton on Beat 1
before you move again on Beat 2.
2. The crescendo that begins in Measure 16 extends to the forte in Measure 25. It is quite
permissible to add some accelerando to the crescendo, as long as you do not overdo it. Return
to the first tempo by making a slight ritardando in Measures 25 and 26.
NOTE 10 HANDOl DOMEH .

Unlike Oki-Domeh and Tataki-Domeh, in which the full stop occurs right on the Point, the full
stop in Hando-Domeh follows a short bounce in the direction of the Tengo as areaction to the
acceJeration in the Tenzen. Hando-Domeh can be further classified as Hando-Tataki-Domeh and
Hando-Oki-Domeh according to the degree of acceJeration in the Tenzen, The distance of the Hando,
the rebound in the Tengo, depends upon the length of the note on that beat, and upon how far you
must traveI to reach best place from which to begin the motion which will follow the bounce. The
speed of the rebound is proportionate to the amount 01 acceleration in the Tenzen. Tataki-Domeh and
Oki-Domeh are used to precede a complete rest as found after the final note of a secnon. whereas
Hando- Tataki-Domeh and Hando-Oki-Domeh are used on a note which is sustained or which moves
on to another note, no matter how short that next note is, In other words, Tataki-Domeh and Oki-
Domeh imply that the sound ceases, and Hando-Tataki-Domeh and Hando-Oki-Domeh irnply that
the sound continues. Occasionallya note which is followed by a rest requires Hando-Domeh to show
that the note is tenuto or is sustained brieRy instead of being chopped off as would be shown by
Tataki-Domeh. Since the Tataki-Domeh stops right on the Point, it cannot showasound that rings on
after the Point. Please refer to the section on Tataki-Domeh in Part I, page 31, for the patterns.
NOTEn NAMIGATA2 HEIKINUNDO

Namigata Heikin Undo, a motion which is even softer in its expression than ordinary Heikin
Undo, is appropriate for very light, legato music. To perform it, hold the baton sideways, almost
parallel to YOUT body, so that the motion does not seem too large or too sharp because of too much
or too evident movement at the tip3 of the baton.
Make the movement in your hand trail that of
your arm, rather than moving them
sirnultaneously as a single unit. In other words,
your arm draws the pattern and your hand
follows that motion. (This is a snake-like motion.
Ed.) Your eibow should be raised so that your
upper arm is nearly at shoulder level. Allow YOUf
upper arm to move while you trace a wavy

pattern consisting of curved lines, and keep the
motion as shallow as possible. See Figure 57.
Illustration 13
Or
Figure 57
Section [Al ends on Beat 1 of Measure 26; Section [B] begins with the
Auftakt into Measure 27.
t TRANSLATION: Hando means a reaction;bouncing back, a rebound; Domeh means to stop, to

halt.
2 PRONUNCIATION AND TRANSLATION: Namigata (Nah-mee-gah-tah) means wavy, in the

form of a wa ve.
3 Editor's Note: A1though there is considerable motion of the arm and hand, the tip seems to create
a pivot point about which the arm moves, so that the tip itself appears to move very Iittle.
Study 5 95
SEITlON [8]
Example29
[BJ
PREPARATORY MOTION FOR THE AUFTAKT: Haneage-type motion on

Beat 2 of Measure 26. Use light Tataki for the Auftakt. You can also employ
Sen-nyu, as was used at the beginning, but we shall try to do it differently
here.
MEASURE 1
Beat 2 Use a Haneage-type motion as apreparatory motion for the
entrance on Beat 3 in the melody. Since the note on Beat 2 in the left hand is
staccato, a From-Point motion such as Haneage is sufficient. You can use
Shakui instead. The motion becomes Shakui if you accelerate in the Tenzen.
Beat 3 Light Tataki
Since the dynamic becomes piano and the articulation becomes staccato in
this measure, use a small pattern like that used at the beginning of this
piece. If you wish, you can add acceleration to the Tenzen of the Haneage
on Beat 2. See SPECIAL NOTE 1, page 98.
MEASURE 2 Same as Measure 1 You need not give any special direction
to show the thirty-second note in the bass llne at the end of Beat 3, because it
is sirnply a continuation of the melody.
MEASURE 4
Beats 1 & 2 Same as Measure 1
Beat 3 Shakui
MEASURE 5 See Figure 58.

A B c
Beat 1 Light Haneage.
Position the Point at the left-
shoulder or left-ehest. Make the
Tenzen small. Sinee the new
legato phrase begins on Beat 2,
Beat 1 must be very shallow
Figure 58
Beat 2 Heikin Undo

Beat 3 Heikin Undo.
Beginning on Beat 2 use Narnigata HeikinUndo for all the Heikin beats.
N.B. Use Namigata Heikin Undo in this measure to show the expression on Beats 2 and 3. The sign
(.~ \ over these notes indicates that they must be soft yet bouncy, but never choppy.
Consequently, they require a soft and bouncy baton motion. A shallow Sen-nyu motion into Beat 1
followed by Haneage prepares for the Namigata Heikin Undo which will follow.
MEASURE 6 All beats Namigata Heikin Undo
MEASURE 7
Beat 1 Namigata Heikin Undo, with a slightly larger motion in the
Tengo.
Beat 2 Shakui
Beat 3 Heikin Undo with Wrist Tataki or Wrist Hikkake added.
Beeause oi the tie (~ ) which eonnects Beat 2 to the beginning of Beat 3,
use Heikin Undo in your arm to express legato, and, at the same time, use
light WristTataki or Wrist Hikkake to define Beat 3.
Wrist Hikkake Wrist Tataki
~ ~ ---
Figure 59
Study 5 97
Example30
MEASURE 8
Beat 2 Haneage-type motion to make a clear preparatory motion.
Beat 3 LightTataki or Shakui
MEASURE 9
Beat 1 Small Tataki
Beat 2 Small Tataki with a slightly larger Tengo for the entrance of the
soprano melody on Beat 3.
Beat 3 Small Tataki. Although the melody, which begins on Beat 3
and continues into the next measure (in flute, oboe and violin II), is legato,
the violin I part is staccato, and you can achieve a better result in the
ensemble by following the rule of conducting which states that you must
direct the staccato part.
MEASURE 10
Beat 1 Shallow Tataki with a distinct Tengo as apreparatory motion
for Beat 2.
Beat 2 Shakui. Note the crescendo and decrescendo.
Beat 3 Shakui.
MEASURE 11 Same as Measure 9. You can also conduct Measures 9 and 11

of SeetionTB] as you did Measure 1 of Section [B].

MEASURE 13
Beat 15mall Shakui. The Tengo is the preparatory motion for the
Heikin Undo which starts on Beat 2. The piano part has arnisprint. The
sign .~ is written over Beats 1 & 2 in the right hand part of the piano
music. In the score of the Symphony, a slur connects Beats 2 and 3, and the
phrase obviously starts on Beat 2.
Beat 2 Heikin Undo. The crescendo begins on Beat 2.
Beat 3 Heikin Undo
MEASURE 14 All beats Heikin Undo. Be sure to show the crescendo .
. MEASURE 15
Beat 1 Heikin Undo with a shallow Tenzen. Since the crescendo
through Measure 14 ends with a subito piano in Measure 15 and since the
music becomes even more legato, Beat 1 should be very shallow. See
SPECIAL NOTE 2, below.
Beat 25mall Tataki with wrist motion added. The addition of wrist
motion facilitates the performance of the mordent in the melody and the
entrance of the cello and double bass, in the left hand of the piano score.
Beat 3 Shakui
NOTE 12 SUBITO PIANO Conduct the subito piano by bringing your arm closer to your body.
SPECIAL OTE 1 ADDING A TENZEN Ta A HANEAGE TO CLARIFY AN ENTRAt'lCE

Haneage has been used on Beat 2 in Measures 1 through 4 of Section [B]. Since there is an
entrance in the bass line, actually the cello part, on Beat 2 of Measure 1, you can add a bit of
acceleration just before making the Haneage on Beat 2 to show that entrance, When you create this
Tenzen you must use some of the time, although slight, frorn the length of the stop which follows
the Hando- Tataki-Domeh on Beat 1, so that the baton does not lag behind at Beat 2. The diagrams
below show two different ways to connect each of Tataki-Domeh (or Oki-Domeh) and Hando-
Tataki-Domeh (or Hando-Oki-Domeh) to the Haneage which follows,
Study 5 99
There are two kinds of cornbinations:
First cornbination Secend cornbination
A B C D
Beat 1
t.,7
Taki-Domeh.
J,p' J!~ i~
Hando-Taki-Domeh.
Cl) 2
Taki-Domeh. Hando- Taki-Domeh.

Long stop throughout Long stop throughout Short stop Short stop
the entire beat the entire beat
Beat 2 Haneage,originating at Haneage, same as "A" Slight acceleration Slight acceleralion

the Point then Haneage. then Haneage.
Figure 60
SPECIAL NOTE 2 CONDUCTING BEAT 1 USING A SMALL MOTION

Use a small or shallow first beat in two cases:
Case 1. Where the accent is removed, See Seetion [B],Measure 15, Beat 1. Although this
is the first beat of the measure, itoccurs during and near the end of the phrase which began
some rneasures earlier. so that there will.be no accent on the note.
Case 2. Where there is a subito piano on Beat 1 or the rnusic suddenly becornes legato.
SECTION [Cl
Exarnple 31
MEASURE 1
Beat 1 Since there is no accent on this beat, use a very shallow Wrist
Tataki. Follow through with a Haneage-type motion in the Tengo to raise
your arm to the head position as apreparation for Tataki on Beat 2.
Beat 2 Distinct Tataki. (Pay attention to the sustained note in the upper voice.
M. Okabel
Beat 3 Small Wrist Tataki. The thirty-second note Auftakt on Beat 1
requires no special direction. It can be treated like a grace note into Beat 2,
and it will fall into place naturally if the Point of Beat 2 is clear. Use shallow
Tataki or Haneage on Beat 1 followed by a large Tengo, Follow that motion
with a distinct Tataki to show Beat 2.
MEASURE 3 Same as Measure 1, but make the Tengo of Beat 3 large to

make apreparatory motion for the melodic accent created by the triplet on
Beat 1 of Measure 4.
MEASURE 4 All beats Shakui because the music is more legato than in
the previous three measures. lncidentally, there is no slur over Beats 2 & '3
in the orchestral score.
Example32
MEASURE 5 Same as Measure 1, but, because you must prepare for the
forte, use more energy. The woodwinds and brass of the orchestra, inner voice
in the piano part, enter on the Auftakt into Beat 2. As was the case in Measure
1, you need no special indication for the entrance of the thirty-second note. On
Beat 1 use shallow Tataki or Haneage followed by a large Tengo.
Study 5 101
Example33
MEASURE 8
Beat 1 Shallow Wrist Tataki. Use Haneage in the Tengo in a large
motion to prepare for a powerful Tataki on Beat 2.
Beat 2 Yokono-Tataki-Domeh! See NOTE 13, page 75. In order to
execute the Tataki-Dcmeh effectively for the sforzando make it sideways
and stop your arm at the centre-chest position. See Figure 61A.
Beat 3 Haneage-type motion, as apreparatory motion for Beat 1 of the
next measure,
As an alternative, use a From-Point motion on Beat 2 as shown in Figure
618. If you choose this alternative, proceed as follows:
Beat 1 Shallow but streng
Tataki-Domeh, stopping at the
left-shoulder position.
Beat 2 Shunkan Undo,
a From-Point motion A Using Yokono- . B Using Shunkan
Beat 3 Haneage Tataki-Domeh Undo
Figure 61
MEASVRE 10 Same as Measure 8, but as in Measure 3, raise your arm

high to create apreparatory motion for the triplet on Beat 1 of Measure 11.'
The climax of the piece occurs in Measures 8 through 10.
1 TRANSLATION: Yokono means horizontal or sideways.
MEASURE 11
Beat 1 All beats light Shakui in a large motion. In this forte section
show the pulse and the character of the music using a large, light Shakui
motion. Incidentally, the slur marked here in the piano music does not
appear in the orchestral score.
SECTION [Dl
Example34
MEASURE 1
Beat 1 Light Tataki. Use a large motion because the dynamic
continues at the forte level from the previous measure. Since the dynarme
changes suddenly to piano on the Auftakt leading to Beat 2, make a small
motion on the Tengo of Beat 1. See NOTE 12, page 98, regarding subito
piano.
Beats 2 & 3 Tataki, made distinctly in a small motion.
Since the music becomes more detached at this point, especially at Beats
2 and 3 of this measure on the timpani solo, the left hand of the piano part,
this alternative method can be used:
Beat 1 Hando-Tataki-Domeh
Beats 2 & 3 Abrupt Wrist Tataki separated by full stops, or Shunkan
Undo. On the Tengo of Beat 3 use a large motion to prepare the violin
entrance in the next measure.
Study 5 103
MEASURE 2 All beats Wrist Tataki or Shunkan Undo. Since the dynamic
is piano. keep the motion as small as possible .. The right hand of the piano
part represents the first violin part played spiccato. Use very sharp Tataki
to indicate the spiccato.
MEASURES 3 10 8 Use the same motion as in Measure 2. Notice that one

phrase ends and another begins in Measures 5 and 6.
MEASURE 9
Beat 1 Oki-Domeh
Beat 2 Haneage-type motion as a preparatory.motion for Beat 3.
Beat 3 Shakui
The Haneage on Beat 2 is made in the same way as the prepartory rriotion at
the beginning of the piece. As an alternative to using Shakui on Beat 3, you
can use Sen-nyu like that on the Auftakt at the beginning of the piece.
MEASURE 10
Beat 1 Oki-Domeh
Beat 2 Harieage-type motion as apreparatory motion
Beat 3 Shallow, light Sen-nyu or Shakui
Beats 1 and 2 are identical to the previous measure, but since the theme
begins on Beat 3 in the left hand of the piano part, Sen-nyu is preferred.
SECTION (E]
Example35
MEASURE 1 Same as Measure 1 of Section [Al except that there is no

need to use Sen-nyu on Beat 3.
MEASURE 2 Same as Measure 2 of Section [Al. There is no need to use

Sen-nyu to show the dotted figure on Beat 3.
MEASURE 3 Same as Measure 3 of Section [Al.
MEASURE 4
Beat 1 Light Tataki because of the staccato sixteenth notes.
Beat 2 Light Tataki. The Tengo should be enlarged slightly to create
an intermediate preparatory motion for Beat 3.
Beat 3 Haneage or Shakui.
The melody becomes legato in this measure and the accompaniment
consists of flowing sixteenth notes. In order to conduct the accompaniment
as weil as the melody, Haneage or Shakui must replace the Heikin Undo,
which was used previously in a similar passage.
MEASURE 5 All beats Heikin Undo with Wrist Tataki, or use Shakui,
Gradually make your motions larger to show the crescendo which begins
here.
MEASURE 6 Same as Measure 5 but add a slight Hikkake on Beat 2.
MEASURE 7
Beat 1 Haneage, to conclude the phrase begun earlier.
Beats 2 & 3 Light Tataki. Use light Tataki because Beats 2 and 3 are not
legato.
MEASURE 8
Beat 1 Light Tataki
Beat 2 Haneage or Shakui
Beat 3 Haneage or Shakui Use a large motion to show the climax of
the crescendo, but be aware of the subito piano in the next measure.
Study 5 105
Example 36
9~. 12
1~: ti ~ __ 1.8 ;!:'. 19
MEASURE 9 All beats Haneage or Shakui. Observe the subito piano on

Beat 1. See NOTE 12, Page 98.
MEASURE 10 Same as Measure 6 in Section [E]. Add a slight Wrist

Hikkake on Beat 2.
MEASURE 11 Same as Measure 7 in Section [E]. The crescendo starts here.
MEASURE 12 Same as Measure 8 in Section [E].
MEASURE 13 Strong, distinct Tataki on all beats. The strong Tataki is

needed to show the forte. However, since the melody is legato, use a large,
bouney motion.
MEASURE 14
Beat 1 Large, strong Tataki for the sforzando
Beat 2 Strong Tataki, with some Hikkake.
Beat 3 Tataki. See also NOTE 13, page 106.
MEASURE 16 Same as Measure 14. Sinee the orchestral score shows a

sforzando on this first beat too, use a large, strong motion as you did in the
previous measure.
MEASURE 17 All-beats distinct Tataki. Although this measure is legato

throughout in the piano part, the orchestral score shows the woodwinds
playing a legato melody with violins land II playing staccato. It is best,
therefore, to show the rhythm with a distinct Tataki.
MEASURE 18 All beats Tataki to indicate the staccato melody of the first
violins, as shown in the score. Show the entrance of the violin I staccato
melody on the offbeat of Beat 1 by adding a slight sharp Hikkake on the
Point, and follow with a large Tengo. Continue with the crisp Tataki to
show the staccato accompaniment on Beat 2.
MEASURE 19 All beats amigata Heikin Undo or soft Shakui in a wavy

motion. The conducting motion should become broader to indicate the
approaching phrase ending.
NOTE 13 YOKONO-HANDO-TATAKI-DOMEH
You can use this technique called Yokono-Hando-Tataki-Domeh for the second beats of
Measures 14 through 16 in Section [E].
MEASURE 14
Beat 1 Strong Tataki
Beat 2 Yokono (sideways) Tataki.
Rebound with Shunkan Undo
and stop. This is
Hando-Tataki-Domeh,
Beat 3 Haneage Figure 62
To explain further. after using strong

Tataki for the sforzando on Beat 1, you must
assist the performance of the dotted note on
Beat 2. Since this beat is forte too, use another
strong Tataki on Beat2. Place the Point of Beat
2 at the right-chest position and immediately
rebound slightly to the left along the
horizontal path. In other words the Tenzen Yokono-Hando-Tataki-Domeh
and the Tengo of this beat are on the same Figure 63
path. This technique is called Yokono-Tataki.
Study 5 107
A B C
acute angle abtu se angle curved line
V ~
Unclear
~
This is Shakui
Figure 64
The sideways motion, like that used on Beat 2 in tripie metre, tends to be
sloppy and unclear. When it is necessary to use sharp Tataki on Beat 2, use
extreme care to avoid creating an obtuse angle or a curved line, as shown in
parts Band C of Figure 64. The motion can easily become misshapen,
causing the Tataki to lose the clarity which it is supposed to achieve. An
attempt to add vertical motion to the essentially horizontal motion of Beat 2,
in order to make a sufficiently sharp angle to create Tataki, will appear
awkward and urunatural. The other beats are, by nature, vertical motions.
In tripie metre In quadruple metre
~
'~V\l
vertical
I \
sideways vertical
/
vertical
f\~V\i
I
vertical
\
sideways
<,
vertical
motion motion motion motion motion motion motion
Add a vertical motion Add avertical motion

to make it an acute to make it an acute
angle angle
(Unless you allow the Tengo to rebound higher than usual it is difficult to make the second
beat in tripIe metre and the third beat in quadrupIe metre suffidently sharp. M.Okabel
Figure 65
It is for the reason described on the preceding page that Sideways Tataki
must be used to clearly define the beat when an especially sharp Tataki is
needed on beats which are made with horizontal motions. By the way, the
Tataki on Beat 2 of Measure 8 in Section [Cl is one such example.
N.B. Since the rhythms in Section [DI are defined by dotted notes, such as those of the timpani
solo, and even the melody is quite rhythmic, like the spiccato of the firstviolins, the Tataki used
here must be considerably sharper and more crisp even though the motions are small. By
comparison, there are fewer dotted rhythms in Section [EI and the melody is more legato so that the
Tataki here can be somewhat softer than in Section [DI. In summary, the degree of sharpness or
softness of the Tataki motion depends upon the articuJation, detached or legato, which you desire.
SECTION IF], the Coda
Although not indicated on the piano part, the orchestral score is marked
piano on the first beat of this section. We can safely assume, therefore, that
a diminuendo occurs at the end of the previous measure.
I .
Study 5 109
MEASURE 1 All beats light Tataki. The Tengo of Beat 2 should be

stretched to create apreparatory motion.
MEASVRE 2 Same as Measure 1. Pay special attention to Beat 3.
MEASURE 3 All beats light Tataki
MEASVRE 5 Same as Measure 1. N.B. Beat 3.
MEASURE 6 Same as Measure 1. N.B. Beat 3.
Since the dotted rhythm persists from Measures 1 through 8, it is best to

use very abrupt, halting Wrist Tatakis, as were used in Section [D]. Because
the dynamic is piano, keep the motion small. It is sufficient to merely
stretch the length of the Tengo of Beat 2 to show the Auftakt on Beat 3 of the
melody in Measures 1, 2, 5 and 6. However, avoid stretching the Tenzen of
Beat 2. In addition, the stretching of the Tengo of Beat 2 should not force a
sharp, large Tataki on Beat 3. On the contrary, Beat 3 should be made with a
softer, more shallow Tataki than on Beat 2 because it should be played
legato with a soft attack.
MEASURE 9
6eat 1 Shallow Tataki, or Hando-Oki-Domeh
Beat 2 Very small and very sharp Tataki. Add wrist motion.
Beat 3 Soft Shakui, or Heikin Undo. lndicate the very soft, legato
sound of the horn on Beat 3, in the left hand of the piano part, by the use of
Heikin Undo or soft Shakui. Sen-nyu is inappropriate for the horn.
MEASVRES 10 TO 12 Same as the previous measure. However, in Measure

12 you must prepare for the forte on Beat 3 by considerably stretching the
Haneage-type motion which follows the Point of Beat 2. Make the Point of
Beat 2 with a small, sharp Tataki. Because we are approaching the end of
the piece, naturally some ritardando is called for. Begin here, on the Tengo
of Beat 2, to stretch even more, and make the deceleration more deliberate.
As was mentioned earlier, all the foregoing must not cause either the
Tenzen of Beat 2, and therefore the Tataki on Beat 2, to become any larger.
The Haneage motion of the Tengo on this Beat 2 must be executed with
utmost care because the amount of ritardando on the following beats is
determined entirely by the distance and the degree of the deceleration in the
Tengo. Because the score does not show an accent on Beat 3 this forte must
have a legato attack, made with a large Shakui.
MEASURE 13
Beat 1 Large. powerfu) Tataki followed by a small Tengo.
Beats 2 & 35mall, weak Tataki, with a sm all Tenzen.
MEASURE 14 Hando-Oki-Domeh. Hold still throughout the two beats;

then move the baton slightly to the right on Beat 3 for the cut-off. There is
no staccato marking in Measure 14 in the orchestral score. The staccato on
Beats 2 and 3 in Measure 13 should be interpreted as spacing the notes
rather than as playing them short and chopped, In other words, they must
have a legato attack and a rounded release. The baton motion must refleet·
this intention.
The description of the conducting motions used in this piece is now

finished. Following is a review of the conducting techniques used in this
study.
(1) Use shallow Sen-nyu on the Auftakt at the beginning of a piece. Follow
the Sen-nyu with a very short and very shallow Oki-Domeh at the end
of the deceleration.
5tudy 5 111
~'
2 ,
Avoid acceleration and any A large stopping motion

unnecessary motion belare makes the next beat late.
the stopping motion to
prevent detraction Irom
rhythmic precision.
Figure 66
(2) Distinguish between Haneage and Hikkake,

Haneage is used to show:
a) how a pitch should be sustained by the way the Tengo is stretched.
b) the character of the sound on the next beat, i.e., Haneage can be
used as aPreparatory motion.
Hikkake is used to clearly define the Point and nothing else. Hikkake is
used as an aid to placing a short note which enters between Points, like
a syncopated note, or the note which typically follows a dotted note.
(3) Avoid carelessly cutting short the Tengo of the Haneage motion because
the Tengo shows the dynamio contour of a sustained sound.
(4) Make a stopping motion in one of two different ways (One is made with a
rebound; the other without, Ed.), and know when to employ each.
(5) Review Yokono (Sideways) Tataki followed by Hando-Domeh, See
NOTE 13, page 106.
(6) Employ the special baton technique at the transition between Tataki and
Heikin Undo. See Section [Al, Measure 4.
(7) Be able to make a shallow first beat, and know when to use it. See
SPECIAL NOTE 2, page 99.
(8) Note how the 'Pattern of Narnigata Heikin Undo differs from that of the
usual Heikin Undo. See NOTE 11, page 94.
(9) Develop the technique of adding wrist motion to Heikin Undo. Be able
to do Wrist Tataki, Wrist Haneage, and Wrist Hikkake.
Review and practise all these techniques again. Practise them
repeatedly and separately. Read aga in those sections in the book which
previously explained items (2), (3), and (9) of this review.

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53

APPLICATION OF THE TECHNIQUES

No. 29 in the Sonatina Album, VARIATION UBER "VIEN'QUA, DORINA BELLA,"

accompaniment pattern consists of moving eighth notes in the inner voice.

Let us suppose that the theme of this piece is played by ahorn or by a

SECTION [Äl (the first 12 measures)

To give some emphasis to the melodie leap on Beat 1 of this measure, it is

MEASURE 3 All beats Heikin Undo

NOTE 1 INTERMEDlATE PREPARATORY MOTION

'" I Intermediate Preparatory Motion

MEASVRE 6 Same as Measure 2

MEASVRE 7 Same as Measure 3. Pay special attention to the dotted notes

MEASVRE 8 Same as Measure 4

MEASVRE 9 Same as Measure 5

MEASVRE 10. Same as Measure 2

MEASVRE 11 Same as Measure 3. (Payattention10 thedottednoteonBeat1. Ed.)

MEASVRE 12 Same as Measure 4

MEASURE4 Use a shallow Hando-Domeh, at the centre-shoulder

Beat 2 .Use Shunkan Undo again on this / ... _.\--~··@.\~~t

(a) Using Sen-nyu

(h) Using Tataki

Because the pattern is so large, and especially because it is not easy to

As you can see, the. techniques acquired so far can be combined in a

62 The Saito Conducting Method

Type A Subdivision This

again on the offbeat } of

light Tataki or Shakui. The

Ritardando using Sen-nyu

Making a great Ritardando

Start on Beat 3 of the fermata with an intermediate preparatory motion,

THE FINAL MEASURE Conduct the smorzando using the procedure

No. 26 in the Sonatina Album, THEME FROM "IMPROMPTU" by Schubert, in 4/4,

Since, as the accompaniment pattern shows, Beats 1 and 3 have stronger

PREPARATORY MOTION: Haneage from the preparatory position.

MEASURE 1 All beats Shakui; stronger on Beats 1 and 3.

MEASURE 5 Same as Measure 1

MEASURE 6 Same as Measure 2

MEASURE 7 All beats Shakui. Pay attention to the crescendo and

NOTE 5 CONDUCTING CRESCENDO AND DECRESCENDO

NOTE 6 11fE FUNDAMENTAL RULE FOR CONDUCTING A RlTARDANDO

MEASURE 3 All beats Shakui. Make the pattern gradually smaller

MEASURE 4 Same as Measure 4 in Section [Al. If you want no ritardando

MEASURE 5 Same as Measure 5 in Seetion [A]

dynamic marking -= ====-

meaning as the -= ====-

MEASURE 7 Same as Measure 7 in Seetion [Al, but gradually make the

MEASURE 8 Same as Measure 8 in Section [A]. Since the sudden piano

MEASURE 1 Same as the previous measure, but now it is pianissimo.

After making a small Hando-Oki-Domeh, lower the baton gradually for

To make it easier to move your arm, you

No. 20 in the Sonatina Album, ANDANTE GRAZIOSO by J. Haydn

The term "grazioso" is generally interpreted to mean "with grace", but it

SECTION [Al (Measures 1 to 8)

MEASURE 1 Use a clear and precise! preparatory motion from the

Sen-nyu the stopping motion occurs on the offbeat ( 1-),

NOTE 8 SUBDIVIDING SEN-NYU is a type of Sen-nyu

SECTION [B] (after the repeat sign)

MEASURE 2 Same as Measure 2 of Section [Al.

MEASURE 3 Same as Measure 1 of Section [B],but observe the crescendo.

MEASURE 6 Same as Measure 5, immediately above.

MEASURE 8 Same as Measure4 of Section [Al.

MEASURE 9 to the END Conduct as in Seetion [A). Measures 14, 15 and 16