Skills of A Modern Conductor.

What kind of skills do we expect the modern conductor to have?

Harold Schonberg, the highly respected former music critic for the New York Times, tried to summarise the skills a conductor needed to be successful; they are elaborated here by composer cum conductor Harold Farberman:

1. A conductor must play several instruments; a student should excel on one instrument and have at least a performer’s knowledge of the piano and one string instrument. More than that isn’t necessary.

2. Working knowledge of every instrument: it would be a significant achievement to know the individual fingerings of all the instruments on the stage, but it seems unnecessary (beyond the middle school conductor, at least.). The orchestra player knows the qualities, possibilities and quirks of his or her instrument better than the conductor, unless the conductor happens to be a virtuoso on the same instrument. Still, a student must learn the ranges and differing colours of the string, wind, brass and percussion groups, the qualities of sonority they produce, both individually and, more importantly, collectively in various combinations.

3. Easily read a full score: knowledge of clefs, instrument keys, transpositions, speed of metronome markings, time signatures, and the meaning of musical terms in various languages remains an absolute necessity.

4. Understand the structure and meaning of a score: harmonic, melodic, rhythmic and phrase analysis are relatively simple, but the “meaning” of music is inherently ambiguous and should not be fixed.

5. Decide what the composer wants and achieve the vision: a flood of scholarship and opinion on this subject has washed over the musical world in the last decades. What is clear (and fortunate) is that performance decisions change over time, if not from concert to concert. Compositions are live entities and should be subject to constant review. “Achieving the vision,” whether vast or limited, inevitably becomes a series of compromises because of the inadequate manner in which baton technique is understood and taught.

6. Technique and memory to assimilate a new work: does this mean the ability to memorise a new work? Toscanini’s (a great Italian conductor) weak eyes forced him to memorise, but an open score on a stand during a concert is perfectly normal and acceptable. It is interesting to note that Schonberg links technique to ‘new work.’ The truth is that every single piece of music, regardless of style and period demands new and differing technical solutions.

7. Absolute pitch and a ear for wrong notes: orchestra players are always impressed by conductors who possess perfect pitch, but it is useful only in rehearsals. Players generally know when they play wring notes and will eliminate them. If they do not, the conductor must make the pitch corrections during rehearsals. Good players will also adjust intonation automatically, but conductors with excellent relative pitch can achieve the same intonation and balancing results in rehearsals as conductors with absolute pitch. Pitch recognition is a single element in a complex hearing process. How one listens is the important factor. In my view, a highly developed sense of perfect rhythmic articulation is far more important than perfect pitch in individual phrase construction and overall structure.

8. Ability to compose and orchestrate: conductors must learn to mechanics of composition and orchestration. It is not necessary to become a composer, but it is necessary to learn basic musical procedures: creating melodic lines and shapes, accompaniments, writing counterpoints, combining instrumental colours and organising new sonorities. These are the daily vocabulary of every conductor.

Source: Training Conductors. Farberman, Harold.

Just a reminder that what is stated above is not all the stuff that makes up a conductor, it is merely the skills that a conductor should have if he is to become a professional one. As student conductors or even aspiring professional conductors, it is important to start learning these rubrics of music. It is never too late to learn them…


Terrence Wong conducts Threnody with NAFA Wind Ensemble, 3rd Sept 2008.