Dedication

pp v-vi

Contents

pp vii-viii

Foreword

pp ix-x

Preface

pp xi-xii

Acknowledgments

pp xiii-xiii

PART ONE - The Conductor's Mind

pp 1-2

1 - Background

pp 3-5

2 - Harmony

pp 6-9

3 - Memory

pp 10-12

4 - Perfect Pitch

pp 13-14

5 - Training Conductors

pp 15-20

6 - Youth Orchestras

pp 21-23

PART TWO - The Conductor's Skills

pp 24-26

7 - Balance

pp 27-31

8 - Choral Works

pp 32-34

9 - Concerto Accompaniment

pp 35-40

10 - Ear

pp 41-42

11 - Eye Contact

pp 43-45

12 - Opera

pp 46-49

13 - Rehearsing

pp 50-59

PART THREE - The Conductor's Hands

pp 60-62

14 - Baton

pp 63-65

15 - Beat

pp 66-78

16 - Behind-the-Beat Playing

pp 79-82

17 - Directing from the Harpsichord

pp 83-85

18 - Economy of Gesture, Cueing, Use of the Left Hand

pp 86-91

PART FOUR - The Conductor and the Musicians

pp 92-94

19 - Auditions

pp 95-98

20 - Chamber Orchestras

pp 99-100