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which he defines as ‘the movement of the baton/hands between beats’ (Maiello

1996a:12). Here Maiello’s is one of the only textbooks to teach the importance of
the space between the beats at an early stage of conducting instruction. This is
significant because, as will be discussed in Chapter Six, the space between the
beats is one of the important characteristics of expressive conducting.
Maiello also rightly introduces the left hand at a much earlier stage than most
other textbooks, and has the left hand participate in the special exercises. His
approach is an excellent way to teach sensitivity and independence in the left
hand from the earliest stage, rather than tackling this later on.
Maiello also teaches preparatory and release gestures prior to the introduction of
beat patterns. He emphasises the importance of breathing as a simultaneous part
of the process of delivery of the preparatory gesture, as does Jordan. When
Maiello does introduce the patterns, he takes the approach of introducing each
beat at a time. He begins with a ‘1’ pattern in order to get conductors to simply
feel the delivery of a consistent, steady pulse, complete with practice exercises.
Apart from providing a printed score that is flexible enough to be performed by
any combination of instruments, Maiello’s book comes complete with a CD
containing recordings of every example in the book, plus an optional extra video.
Subsequent patterns of ‘2’, ‘3’, and ‘4’ are gradually introduced. He identifies a
problem that many conductors have with the ‘4’ pattern, when the second beat
travels too close to the body, introducing a spatial exercise in front of a wall
maintaining the baton tip one inch from the wall through the whole pattern as an
effective solution to this problem. He teaches dynamics with clear and effective
imagery, relating the dynamic level to the size of the gestures.
Not all of the text is as clear and easy-to-use as the opening, as his chapter on
‘The Anacrusis and Fractional Pick-ups’ is presented in a confusing manner, with
too many options given to deliver effective preparatory beats, rather than
allowing readers to achieve comfort with developing skills one at a time, and his
chapter on subdivision appears to be a bit rushed (although this becomes a little
clearer when observed on the companion video, which needs to be purchased
separately! (Maiello 1996b)) Nevertheless, the early stages of the book live up to
the ‘hands-on’ billing of the title, making this textbook an effective resource.

Like Maiello, the early chapters of Daniel Kohut and Joe Grant’s Learning to
Conduct and Rehearse (1990)(1st edition) are kinaesthetically effective, due to