An orchestra's conductor seems to have a very simple job. To the untrained eye all he or she is doing is waving a baton back and forth, seemingly in time with the music. But there is much more to conducting an orchestra than simply waving a baton. First, the pattern that the conductor uses is very specific. If the music is written in 4/4 time (four beats per measure), then usually the conductor will move his baton in an upside down "T" pattern with four distinct stopping points. These four points correspond to the four beats in each measure. So by watching the conductor's baton pattern you can tell what beat the orchestra is on.
The first beat of the baton is usually downward and is known as the "ictus," or "downbeat." For the second beat the baton continues inward toward the conductor's body. Beat three moves outward, away from the body. Finally, the conductor moves his baton upward to signify the final beat of the measure (the "upbeat" or "prep beat"). This four beat conducting pattern is repeated throughout the entire piece of music, helping all members of the ensemble to know where they are at in the overall performance simply by keeping one eye on the conductor's baton. Other kinds of music with different meters and beats per measure are conducted in different ways, but the ictus and the upbeat will always be done with the same basic motions, with the upbeat immediately preceding the ictus.
The conductor does much more than simply keep a beat, however. The conductor is solely responsible for making the orchestra play the music exactly as he or she feels is appropriate. This usually means the conductor will spend hours studying the music the ensemble is going to play. He plans each rehearsal to work on the various parts of the music and bring out the individual parts and emotions in the music that he sees as important to the overall performance. The conductor in this way becomes a visual representation of the music being performed. If you watch a conductor closely you will see him make various motions with his baton and with his free hand that closely mimic the feel of the music at that point in time. Large flowing motions often signify loud, smooth passages. Choppy, short motions go along with bouncy, choppy rhythms. Small, gently motions will accompany soft, delicate passages.
The role of the orchestra conductor may seem simple, but beyond the deceptively simple pattern of his baton lies emotion, passion, and a deep knowledge of the music being played. The next time you have the opportunity to watch a conductor delicately swinging his baton take note of the many things I have pointed out here and appreciate the conductor for the vital part of the ensemble that he truly is.
