The eyes play a very important role in the conducting vocabulary. In Part Two there are numerous observations from various performers who discuss this important issue. All conducting gestures should be focused in the central global space in front of the body and eyes of the conductor. Hands and eyes are then aligned for every single gesture (DVD track 1). If the beating is performed with bent, retracted elbows, the beats will be focused at the side of the body separate from the eyes. This divided focus is unhelpful and unclear. The position of the arms is, therefore, vital to all aspects of technique. Freedom from tension in shoulders and arms is the first consideration. Imagining the sensation of the arms floating on the surface of water provides a good analogy for freeing the forearm from tension. I offer a useful exercise to find a natural, relaxed suspension of the arms in preparation for the conducting process. With arms hanging naturally at the sides of the body, swing them backwards and forwards several times, making the arc gradually higher. Then allow them to stop at the base-line of the beat, level with the waist, with hands at a central point aligned with the eyes. Muscular tension must not occur at the landing-point. Now the arms will have established the natural extensionpoint for conducting. It is essential to keep the palms of the hands pointing downwards. This basic rule prevents the elbows from falling into the restricted position of closing into the sides of the chest. Turning the palms of the hands upwards while the arms are suspended will automatically draw the elbows into this restrained position (DVD track 1). A natural curve of the extended arms, with a base-line established at the waist, also provides a format for endurance in lengthy works.

Having played under Giulini’s direction I can report that his beat base-line was considerably lower than the waist, even when conducting a chorus in Verdi’s Requiem. It worked extremely well. He always sustained excessive arm extension. This underlines the important function of the elbow in the beating process.