Conducting technique is the ability to influence sounds using physical gestures. Physical gestures can influence sounds to the extent that they conform to those sounds; conversely, gestures that conflict with the sounds have limited influence. Conforming gestures to sounds requires efficient use of the muscles—in other words, using only the muscles necessary. Thus, the most critical element of developing conducting technique is learning to free the body from unnecessary muscle tensions.

Why a Conductor?

Why do we need a conductor? How is it that duos, trios, quartets, quintets, and so on, all can make music superbly without one?

At its very essence, music making is about the coming together of many into one: of many tones into a singular object and of many musicians into a unified ensemble. Coming together—interpersonal synchronicity— is an essential human instinct. Consider couples whose breathing and heart rates become synchronized, or congregational recitations, in which invariably the congregants join quickly into a relatively unified rhythm.

We are able to come together because—while each of us is a product of a different set of experiences, all of which inform our perceptions and responses—human beings respond to stimuli in the same or similar ways. For example, normal human beings perceive a red traffic light and respond by stopping. My perception of the red light is assuredly not your perception; they are two different, separate acts of consciousness. But in each of our independent acts of consciousness, the object of our consciousness is the same: we both perceive the red light, and further, both of our perceptions of it come with the assumption that the other has the same perception. In fact the light works as a signal to stop only because of this essentially similar human response.

Musicians respond to the stimuli of sounds. Assuming the musicians of an ensemble are open to the sounds, they respond to those sounds in the same or similar ways. Chamber musicians are constantly adjusting to the sounds: to intonation, to meter (ensemble), to articulations, to timbre, and to energy. For example, a chamber musician makes a crescendo, building energy. The other musicians hear that crescendo and relax the tempo sufficiently to play out that extra energy; in other words, they respond to the demands of the sounds.