Field of View
Each conductor at the conducting courses and the workshop demonstrated their own individual
pattern of eye contact with the ensemble. One pattern all conductors should use is to establish
eye contact with the musicians (not the score) on the first few measures. Ideally a conductor
should memorize the score in order to maintain eye contact with an ensemble 100% of the time.
More often than not, however, this is not possible.
pattern of eye contact with the ensemble. One pattern all conductors should use is to establish
eye contact with the musicians (not the score) on the first few measures. Ideally a conductor
should memorize the score in order to maintain eye contact with an ensemble 100% of the time.
More often than not, however, this is not possible.
The more eye contact a conductor has with the performers, the better the communication.
Sometimes that communication is specifically intended for a particular instrument or section.
Sometimes the communication is more generalized and intended for the entire ensemble.
For example, the conductor might need to have the entire ensemble be more unified with a
crescendo or accelerando. Eye contact with performers on the conductor’s far left or far right is
as important as eye contact with the center of the ensemble. The field of view should be 180 degrees.
Sometimes that communication is specifically intended for a particular instrument or section.
Sometimes the communication is more generalized and intended for the entire ensemble.
For example, the conductor might need to have the entire ensemble be more unified with a
crescendo or accelerando. Eye contact with performers on the conductor’s far left or far right is
as important as eye contact with the center of the ensemble. The field of view should be 180 degrees.
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