I’m interested what influence you think your so-called “registration” brings to the orchestra. Can you explain how they would play differently if you didn’t do it?
I think it would prove beneficial to look at things with a bit more of curiosity rather than being condescending. I understand this is shaking your idea of conducting but trying to make a mockery out of it won't help your cause. First of all, I wish I could take the credit for it but it's not "my so-called registration". From "The Art of Conducting Technique", by H.Farberman p.92: "Pitch registration forces the conductor to examine and transform every note on the page from a musical visual experience to a technical/spatial one. A conductor who believes in it and employs pitch registration will know the external shape of every bit of ink on the page". It's another way to show the music to the players. Some conductors might be content with beating time in a pattern, some of us are not and do think we can do a tad more than that. It's a choice. Wayne Toews and I had a wonderful conversation on the subject, which, incidentally, also touches on registration. You can find it here: th-cam.com/video/OrSJoRVpbS8/w-d-xo.html As for registration per se, I've posted many other videos on the channel.
@@ggriglio Thanks for the reply, that’s very interesting. I wasn’t being condescending, it’s a genuine question: how does the orchestra play any differently with so-called “registration”? They have the notes written down, so the one element a conductor simply doesn’t need to show is pitch. Forgoing the patterns to draw the music in the air seems to me a terrible thing to do, and (forgive me) a bad thing to advise to young impressionable conductors, not least because it prevents you from showing phrasing, articulation etc. But I’d be interested to see it (you?) in action.
Thank you for your reply and for keeping up the debate, and my apologies for misinterpreting. True, they have the notes written down, and they do not "need" any extra. However, in medium to slow tempi, registration helps in showing/shaping the phrase. It's an extra tool that a conductor has to show the music. About patterns: as a full disclaimer, I'm not against them or think they are evil. On the contrary. However, I do resent the idea that they are the only way to go and cannot be challenged. They are simply a basic element of conducting technique but more often than not they are considered the only one (visible way too often in videos where professional conductors even mirror patterns endlessly). The idea that an orchestra cannot get through a piece unless the conductor beats patterns all the time is to me demeaning of the role of the conductor itself, not to mention insulting to the orchestra players. Moreover, a pattern without a pulse is completely useless as it leaves the orchestra guessing. And when the orchestra starts guessing they stop looking at the conductor (or they fall apart in the worst cases). Breaking patterns does not equal do what you want. It means first and foremost adopting a different mindset: that patterns are but one small part of conducting technique. Hence, it's better to start with the idea, especially with young conductors, that exclusively relying on them as the essence of conducting technique is very limiting, not to mention boring. Here's an old video of mine, you will pardon the crudity of the recording. Around 2:24 you can see an example of breaking patterns with some registration added (the octave jump). th-cam.com/video/gHGMIyXjUUg/w-d-xo.htmlsi=YHXz_1xLRQSAylzj&t=144 Also, I broke down another example from legendary George Prêtre in this video: th-cam.com/video/Bflm_BvLUvg/w-d-xo.html
@@ggriglio Thanks for the video, very interesting to see it in action. For me, it doesn’t add anything at all; I would much prefer to be shown which bars are more important than other bars (this is hard with a horizontal beat), so there’s some phrasing and shape. I completely agree that patterns are there to be broken or disrupted, but I do think more can be shown from within them than without. Vive la difference etc.
Vive la diversité indeed. Thank you for sharing your view, I think it's great for whoever is following to be able to read diverse and sometimes opposite opinions.
Analysis of the movement: th-cam.com/video/hq3HcLgLJ5w/w-d-xo.html
Learn conducting: gianmariagriglio.com/learn-conducting/
I’m interested what influence you think your so-called “registration” brings to the orchestra. Can you explain how they would play differently if you didn’t do it?
I think it would prove beneficial to look at things with a bit more of curiosity rather than being condescending. I understand this is shaking your idea of conducting but trying to make a mockery out of it won't help your cause.
First of all, I wish I could take the credit for it but it's not "my so-called registration".
From "The Art of Conducting Technique", by H.Farberman p.92:
"Pitch registration forces the conductor to examine and transform every note on the page from a musical visual experience to a technical/spatial one. A conductor who believes in it and employs pitch registration will know the external shape of every bit of ink on the page".
It's another way to show the music to the players. Some conductors might be content with beating time in a pattern, some of us are not and do think we can do a tad more than that. It's a choice.
Wayne Toews and I had a wonderful conversation on the subject, which, incidentally, also touches on registration. You can find it here: th-cam.com/video/OrSJoRVpbS8/w-d-xo.html
As for registration per se, I've posted many other videos on the channel.
@@ggriglio Thanks for the reply, that’s very interesting. I wasn’t being condescending, it’s a genuine question: how does the orchestra play any differently with so-called “registration”? They have the notes written down, so the one element a conductor simply doesn’t need to show is pitch. Forgoing the patterns to draw the music in the air seems to me a terrible thing to do, and (forgive me) a bad thing to advise to young impressionable conductors, not least because it prevents you from showing phrasing, articulation etc. But I’d be interested to see it (you?) in action.
Thank you for your reply and for keeping up the debate, and my apologies for misinterpreting.
True, they have the notes written down, and they do not "need" any extra. However, in medium to slow tempi, registration helps in showing/shaping the phrase. It's an extra tool that a conductor has to show the music.
About patterns: as a full disclaimer, I'm not against them or think they are evil. On the contrary. However, I do resent the idea that they are the only way to go and cannot be challenged. They are simply a basic element of conducting technique but more often than not they are considered the only one (visible way too often in videos where professional conductors even mirror patterns endlessly). The idea that an orchestra cannot get through a piece unless the conductor beats patterns all the time is to me demeaning of the role of the conductor itself, not to mention insulting to the orchestra players.
Moreover, a pattern without a pulse is completely useless as it leaves the orchestra guessing. And when the orchestra starts guessing they stop looking at the conductor (or they fall apart in the worst cases).
Breaking patterns does not equal do what you want. It means first and foremost adopting a different mindset: that patterns are but one small part of conducting technique. Hence, it's better to start with the idea, especially with young conductors, that exclusively relying on them as the essence of conducting technique is very limiting, not to mention boring.
Here's an old video of mine, you will pardon the crudity of the recording. Around 2:24 you can see an example of breaking patterns with some registration added (the octave jump). th-cam.com/video/gHGMIyXjUUg/w-d-xo.htmlsi=YHXz_1xLRQSAylzj&t=144
Also, I broke down another example from legendary George Prêtre in this video: th-cam.com/video/Bflm_BvLUvg/w-d-xo.html
@@ggriglio Thanks for the video, very interesting to see it in action. For me, it doesn’t add anything at all; I would much prefer to be shown which bars are more important than other bars (this is hard with a horizontal beat), so there’s some phrasing and shape. I completely agree that patterns are there to be broken or disrupted, but I do think more can be shown from within them than without. Vive la difference etc.
Vive la diversité indeed.
Thank you for sharing your view, I think it's great for whoever is following to be able to read diverse and sometimes opposite opinions.