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editor <r
odgersj@iastate.edu>
Jennifer R
Jennifer Rodgers, editor <rodgersj@iastate.edu>
odgers,

The Conductor Sets Time; Musicians Keep Time
by Stuart Hunt

Keeping good time is a non-negotiable, but in the awareness and mindfulness practice can include:
best choirs, that responsibility is shared between con-
ductor and singers. The conductor sets the time and • Training and drilling eyes to recognize patterns
attends to keeping it when necessary. Their primary fo-
cus, however, is the guiding and shaping of each phrase, • Training eyes to look ahead, reducing mistakes
the conveying of the work as a whole, and interpreting
the intent of the composer. Just beating a pattern can • Counting everything in your head, including rests
fatigue conductors, performers, and actually distract an
audience from the beauty, flow, and involvement of the • Recognizing where and with whom time-keeping
art. Rehearsal time is precious. Giving your musicians resides
the tools for heuristic learning will save time not just
for a day but scaffolds future learning. It is how above- When you hear and observe a string quartet play a
average and great musicians are created, and, as a con- concert, where is the conductor? There isn’t one pres-
ductor, you are the architect. ent because everyone is investing in keeping time. Ex-
ample 1 on the next page appeared in a 2014 article in
1
Science News by Ashley Yeager. She derived the graphic
Awareness from a study reported in the Journal of the Royal Society
2
Time and tempo hold ensembles together. When the Interface. “Some ensembles are more autocratic—fol-
ensemble is aware of and keeps great time, it frees the lowing one leader—while other musical groups are
conductor to focus on artistry. And it’s important to re- more democratic, making corrections equally, to stay
alize that trying to keep time and developing awareness together while playing (singing) a piece.”
of time are notably different. My variation on Master Do these models apply to conductor-less vocal en-
Yoda’s adjuration: “Do or do not…there is no try,” is sembles? String quartet models involve only four play-
this: trying may fail; but awareness cures. Rhythmic ers, but this symbiotic communication is what choral

CHORAL JOURNAL November/December 2024 Volume 65 Number 4 61