he year :2.008 marks the tenth anniversary of the death of Margaret Hillis, founder of the and a highly regarded teacher T of . The Choral Journal and other peri- odicals have published articles concerning her approach to score study and rehearsal techniques, I but little has been written about her system of conducting signals. This article is a summation of her method derived fi"om notes which were taken during her conducting classes, and observations of her rehearsals while Hil­ lis taught and performed at University during the years 1978-81. In a concert review for the New York Times, Bernard Holland writes that,

Miss Hillis's conducting technique graphically illustrated her sense of the music.The methods were understated, devoid of histrionics, and her gestures made her ideas on movement and accentuation as clear and unambiguous to listeners far back in the hall as to the musicians THE before her.2 Every modicum of energy is harnessed in the service of the music, with no extraneous activity that could detract from the GESTURAL conductor's goal of I"ealizing the score.The result is a direct con­ nection not only between sight and sound, but also even between touch and sound. Hillis's first observation of this sensation is LEGACY illuminating:

I had a strong experience once when I prepared OF a chorus which was situated on the stage where it could not see the conductor. I was put in the balcony with a flashlight under my hand so that MARGARET I could follow the conductor and the chorus could follow me. I suddenly felt the sound of the soloists on my hand-it shocked me so that I hesitated for a moment, and the whole stage HILLIS hesitated. Afterward, the conductor said, 'Even the orchestra was following you: I had felt the sound as a physical phenomenon.3

Instead of memorizing stock gestures that are imposed upon the music, the conductor creates signals that grow out of the music. As Hillis observes, "There are certain gestures that get certain results, but I use them from the score out."4 After becom­ ing familiar with the score,s the conductor indicates the gestures with symbols above each system, which are then practiced with a mirror and by using video recordings.6

Robert Greenlee, who was a student of Margaret Hillis at Indiana University. is the director of choral activities at the University of Oklahoma.

Choral Journal • 19 Basic Positioning is parallel and straight ahead, although the extending somewhat along the length of . Hillis's method encourages good pos­ angle between the forearms and upper the baton, but still curved down at the ture by making the conductor aware of arms is a little less than ninety degl-ees so end. The end of the baton rests in the the ways in which appearance influences that the forearms point slightly upwards. palm, but not too deeply. The forearm sound. Standing erect models good singing The eyes are usually open, and the face is is responsible for the primary motion, posture for the chorus, open arms invite always connected to the sound. although the upper arm, wrist, and fingers a warm, welcoming color, and looking up Because Hillis prepared and performed also help. (Illustration I) encourages direct musical communica­ primarily the choral/orchestral repertoire, When in front of the ensemble, aware­ tion.The conductor must also have a free she usually conducted with a baton, which ness of every motion, even when not con­ and open chest, and although the arms she carefully crafted by cutting a hardwood ducting, is essential: the more one moves should not look cramped, the elbows re- dowel to the appropriate length and sand­ without reason, the less focus there will _maio_clQse_to_ttH=_b_o_dy,_\,o\£bLcbJs-.:\:he most ingit tocrS!ate ataBertoa dull BointIhe be in the rehearsal. The conductor: waits to m()unt the podium (which must always­ be used) until it is time for the rehearsal to begin, and then looks at everyone from back to front, maintaining attention on the back in particular. When speaking or answering questions, one should always place the baton in the left hand.

The Metrical Patterns In Hillis's method, metrical patterns determine the tempo and provide a refer­ ence point for players who are counting efficient positioning for a range of arm baton's length equals the distance between out bars: motion that will be visible by all yet also the elbow crease and the middle of the sustainable through hours of rehearsal and palm, and it is always in the right hand, For ensemble purposes, there has performance. even for a left-handed conductor. The to be a clear beat; if that clear beat The three arenas of activity-the left palm is usually down, and the middle and is not there, the people who are counting get lost, and the people hand, the trunk and head, and the right ring fingers are curved around the baton; who are playing don't know what is hand-occupy three different spatial together with the little finger, they are then going on. If you look down and see zones, somewhat like the two wings and folded into the only the tops of heads watching the cockpit of the airplanes Hillis flew as an hand.The index concertmaster, you know that you finger and the instructor during World War II. The ba­ are not clear.7 sic neutral position of the upper arms is tip of the thumb form almost vertical, and that of the forearms The size of the pattern is larger a fulcrum on for slower tempi and smaller for faster either side tempi. Structural dynamics are shown, of the baton, but in a rather unusual way: by Director of Choral Activities the index the spatial height, not the Belmont University, a thriving private liberal arts finger university of 4500 students, seeks an outstanding size, of the pattern candidate to (although • conduct three major choral ensembles, • administer a large, highly visible and diverse choral program which includes 15 ensembles, and • teach undergraduate and graduate conducting. The School of Music has an enrollment of over 550 music students and offers nine majors leading to the B.M. degree as well as five majors leading . to the M.M. degree. Belmont's S_cho_QL()f.,,""""-___ I_ is a significant contributor to the vibrant cultural life ofNashviJle, Tennessee, a mid-size city of extraordinary music resources. For a detailed job description and information regarding the application procedure, see www.belmont.edu/hr/Employmentiindex.htrnl ~~ 20 Choral Journal • September 2007 to decrease metrical accent). Forte occurs at the height of the head, and piano at the trunk. Also, unlike many conducting methods, the metrical pattern does not indicate the phrasing, which is instead the responsibility of the left hand. One begins learning the patterns with the most difficult step: conducting the le­ gato. The baton moves at the same speed throughout a symmetrical pattern, and the 00 beats themselves have no geometl"ically visible point of ictus, the motion being continuous and without angles.The smaller muscles (wrist and fingers) move, but only two three four subtly, or there will be a risk of the beat looking flippant. The first pattern to mastel- is the legato two, which uses the infinity sign; beat one occurs as the baton moves down and to gestural and musical space. For a con­ tempo, and a pattern height dependent the right. When teaching this pattern, Hillis ductor who has never attempted such upon dynamics. The conductor may be stood in fj-ont and slightly to the l"ight of gestures, it is unnerving not to be able tempted to create a marcato that stops the student conductor; so that she could to show specific beat points in any way, on the beat, and then rushes to the next; place her fists in the middle of each of the but once the patterns have been carefully or to define beats with a quicker speed two sides of the pattern, which the student refined, Hillis's expel-ience of feeling sound right after the beat; or to subdivide to conducted around. She then watched in the hand is likely to OcCUl~ enhance clarity. All these modifications are carefully for changes in speed, for asym­ If the student has learned the legato not only contrary to Hillis's philosophy of metry, and for any attempt to define the well, the marcato comes vel-y easily, be­ conserving energy; but also they destroy beat with angles or specific points that cause all that is added is angularity at the musical line, which must be present could destroy the legato. The legato three the beat point. All the other basic rules even in the marcoto. In addition, a pattern is the next step, an added difficulty being applied to the legato I-emain in effect: that changes baton speed as a constant the influence of gravity: the fall fj-om three constant motion, symmetry, unchanging aspect of beat definition will make gradual to one is likely to be too fast and thus end speed, a pattern size dependent upon changes in tempo much more difficult to with a sudden rebound at the bottom. As before, the speed of motion must be con­ stant and all angles avoided. For teaching this pattern, Hillis again used her fists as I-ef­ erence points, leaving the fist that was the center of beat two stationary and moving ~ Musiea Muni1i the other fist up and down to accommo­ ~"'/ , Concert Tours date beats one and three.The same rules • ' '''The Artistic Alternative" and pedagogical method wel-e applied to Tuscany International Children's Chorus Festival the legato four; in which she moved both her fists to assist in finding the four curves. Join Jean Ashworth Bartle as she retums fOl' her 4th Festival as conductor! (Illustration 2) In general, the larger the value used as Jean Ashworth Bartle the beat unit, the more legato will be the sound. A legato four pattern, for example, July 1 - 8,2008 is not always used with a written common /I On a scale of 1 to 10, the time meter; thel-e are many legato pas­ Tuscany Intemational sages written in four that are more effec­ Children's Chorus s tive in a slow two. To better understand is an 11!" this relationship, a useful exel-cise requires conducting alternating common-time and Musica Mundi Concert Tours 0110 breve metel-s, the written rhythmic www.musicamundi.com values remaining constant so that the beat 1-800-947-1991 • [email protected] becomes twice as slow in the 0110 breve. 101 First Street, Suite 454 • Los Altos, CA 94022 Phone 650 949 1991 • Fax 650 949 1626 The legato patterns give the ensemble

Choral Journal • September 2007 21 discern, because the rate of the desired but rather after it occurs, which means the more active the snap. Due to the change can only be known by watching that the conductor must always make the freeze on the downbeat, the left hand cuts a full beat. If the baton has instead always appropriate gesture before the intended off the eighth note on the first beat of each been moving at the same speed, changing musical effect.' 0 An accent, for example, bar. (Figure I) the size of the pattern or increasing the is shown on the beat before it is heard, Conducting subdivisions is avoided un­ speed of motion makes a ritardando or and in the Hillis method, it requires yet less there is an even shorter following value accelerando clear immediately. another pattern modification: a snap of the that requires a gesture to ensure precise wrist that very briefly quickens the baton placement. In that case, the freeze occurs motion before it returns to its otherwise on the beat before the note and the snap unchanging speed. The wrist snap, which is on the subdivision before the note.A good Modifications sometimes called the "umbrella beat" be- example ofthe use of this device is found of the Metrical Patterns cause it is written in the score vvith a sign at the beginning of the recitative "CorTlfort ~g-ometlmes;-the~hand~position-needs:~~t=ha=t:':l:o-:'=-o;::ks~1iI'

+ FR LRO J FR LRO J FR LRO J Adagio) =63 more active most active t:."I ~ .--3--' '141 Pip ¥ f nm Ip ¥ f lff1 Ip ¥ fU r I p 3

LHt " FR LRO t FR LRO RH t Allegro molto vivace,J = 88 less active t:."I t ¥.~_f eiFfFt I p ¥ f j J ~ It t t t t p P.P

Key: + = in four / FR = freeze / LHO = left hand cut-off / 1 = wrist snap to the right / t = wrist snap to the left

Figure 1. Ludwing van Beethoven, Symphony no. 1, 4th Movement Violin 1 with conducting symbols

Choral Journal • September 2007 + FR t FRt FRt

Key: + = in four / FR = freeze / LHU = left hand cut-off / 1 = wrist snap to the right / t = wrist snap to the left

Figure 2. G. F. Handel, Messiah, "Comfort Ye" Violin 1 with conducting symbols

pattern adjustment. It is par-ticularly useful instead fOI" cues, cutoffs, dynamics, oc­ cur-ved back towar-ds the palm; using the in r-ecitatives: when the soloist is sing­ casionally subdivisions and accents, and wr-ist and for-ear-m, it makes almost a full ing without accompaniment, one shows phr-asing. A beginning exelTise for- the cir-cle forwar-d, the palm turning up during the pattern out of time and much mor-e development of left-hand independence the cir-cle, and the phr-ase ar-r-ival OCCUI"­ quickly than the tempo in a vel"y subdued is to place the left-hand finger-s on the r-ing when the finger- r-eturns almost to its but also slightly mechanical, stop and left shoulder- and the r-ight-hand finger-s initial position but now with the palm up. start fashion. Pausing two beats befor-e on the right shoulder, and then to make The sign for- this gestur-e in the scor-e is the or-chestr-a has to play, the conductor­ cir-cles with the elbows at differ-ent but a cUI"ved an"ow, which begins wher-e the then gives the beat befor-e playing in time coor-dinated speeds, such as the left elbow phr-ase starts to intensify and ends at the and in nor-mal fashion, 01" with a snap if making one mtation while the I"ight makes high point with the alTowhead. (Figur-e 3) r-equir-ed.The soloist thus has the fi-eedom two. This exer-cise is the fir-st step in meet­ The gestur-e for- cutoffs is to close the to inter-pI"et the r-ecitative without feeling ingthe gr-eatest left-hand challenge for-the finger-s, usually with some movement of constr-ained by the conductol~ Another­ conductor-:to lead a phl"ase without r-efer-­ the wr-ist and al"m, and thel"e ar-e many pos­ passive gestur-e is the "fingel" beat," which ence to the pulse while continuing to show sible var-iations depending on the demands r-equir-es the conductor- to use only the the metel" and tempo with the I"ight hand. of the music. The cutoff can occur- at dif­ fingel"s to move the baton, out of time When indicating the phr-ase's "point of ar-­ fer-ing speeds, have a downwar-d, upwar-d, and in a way that will pr-event sound fmm r-ival," the conductol" should "be like a good or- cir-cular motion, and use var-ying degl"ees occur-ring on the following beat. It indicates Pr-esbyterian, and have a stmng sense of of ar-m and wrist motion. In the "Agnus that a beat just befor-e a silence has gone pr-edestination:'12 The index finger- is the Dei" of BI"uckner-'s Moss in E Minor; for- ex­ by. (illustl"ation 3) focal point of the gestur-e.lts initial position ample, the cutoff at the end of the second is lower, palm down, with the othel"fingel"s measur-e is called a "lifted r-elease," 13 which

The Left Hand The two hands al"e independent, and nevel" does the left hand mir-ml" the r-ight fOI" mor-e than a beat. The left hand does not keep the pulse, but is I"esponsible [ZeimIiChlangSamUnd~ :=::=- p s oJ denn sie sol - I en ge - tro"···~ stet wer ------

1\ p A oJ '---'" "it 'lf~ gen, denn sie sol - len ge - tro - stet. ge tro - stet wer p 1\ ~ T "s' (tra) - gen, denn sie sol - len ge - tro - stet, ge - tro - stet wer p B - gen. denn- sie sol - len ge - tro - stet, ge - tro - stet wer

Figure 3. , Eille Deutches , 1st Movement Chorus with phrasing arrow

Choml Journal • September- 2007 23 consists of a gentle closing of the fingers which case the left hand leads the chorus especially in the extreme registel"S,14 as the arm ascends. and the right hand the orchestl"a. and she taught that a cue for a difficult The left hand often facilitates establish- opening horn note has to be reassuring ing new tempi. If the new tempo starts and welcoming, with the suggestion of a after a fermata, the cutoff can become a The Face, Head, and Trunk smile. A gentle cue is also required in the "false beat" if necessary, as in measure six The many extraneous movements first movement of Brahms's fin Deutsches of Figure I. When a new tempo requires that can easily become habitual, such as Requiem at one measure after rehearsal the right hand to show more than one constant motions of the head and the letter B (the first occurrence of the text beat before the music begins, the left hand trunk, or the mouthing of words, must be "Die mitTranen saen"), where an eye cue keeps the ensemble in abeyance until the avoided, because they distract an ensemble for the harp will prevent an interruption appropriate time by gesturing "halt," with from the work of the hands, expend the of the phrase. In addition, if an instrument _tbe_f1oge[s_s:t[aigbLaod_tQgej:~eLand""---"th""e~~C=o~n7d7u_ct~()=r=;'s=e~n7'"ercSgy1L.-Tu~n~n.o:;.e.:c..ce~sc.:..sa:--r_ilY:L:..,o:;;:c.tn~d:.,.~tu::.:.r:..:.n_-::::-01" section has had a long period of rests, palm towards the ensemble, and then by useful conducting devices into worthless the face must give ample attention and lifting the left hand on the beat before the habit. In the appropriate circumstances, reassurance before the cue. sound, sometimes with a snap. however;the head can cue and add energy To conclude, all the gestures in Hillis's The left hand also gives cues through to a particularly powerful moment; strong method are in the service of the music, a gesture of invitation (never by pointing), trunk motion can be used to energize a making the conductor a visual analogue and it plays a role in indicating dynamics. A dragging tempo; and in rare cases, words to the needle of a phonograph, placed as structural crescendo, for example, is shown can be mouthed to show a choral cue it is between the recorded sound and the through the very traditional gesture of a when both hands are otherwise engaged. realized sound: every aspect of tempo, rising arm and hand, palm up, but with the The eyes, eyebrows, and head can rhythm, color; and phrasing passes from the caveat that the fingers always be spread give very gentle cues that often say much score into the conductor and then to the slightly so as to avoid suggesting unwanted more about the desired sound than a hand ensemble. Although some of her gestures tension. If the score requires it, the hands gesture. Hillis was particularly fond of the are not commonly used, they are worthy may take on divided ensemble duties, in French horn and aware of its challenges,· of exploration, because they rely on the

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24 Choral Journal • September 2007 same discipline and exactitude as her score study and rehearsal organization. As Den­ JImnhe~~~ nis Keene writes,"to watch Margaret Hillis Clrurch Music ...... conduct is to see the score written across Festival,. ., her body." 15

NOTES ANNOU,NCING TH\E

See, for example, Dennis Shrock, "An Interview with Margaret Hillis on Score Study." Choral Journal 31 (Feb 1991): 7-14; and Cheryl Frazes Hill, "The Rehearsal Techniques of Margaret Hillis: Their Development and Application to Brahms's German Requiem," Choral Journal 43 (October 2002): 9-32. 2 "Miss Hillis Conducts Requiem," New York ',t ·"~,I~~ll-i.~t~:'l·;~ln·~'~: Times, February 28, 1983. Cc".",··~ ",;~.·lJ,. ":~",~;~,: '0': "~ 3 Dennis Keene, "An Interview with Margaret Hillis," The American Organist 26 Oanual"y 1992):70. 4 Ibid. 5 Ibid., p. 71 . in ROID0 6 Francis Fowler Slade, "The Hillis Conducting Seminar: An Appreciation," The Voice of Chorus America 20 (Summer 1997): 9. 7 Hillis quoted in Keene, 71. B See, for example, Hillis's article "Anton Bruckner's Mass in E Minor: A Performer's Guide," Journal of the Conductor's Guild 21 (Winter/Fall 2000), pp. 26 and 30. 9 Ibid.,28. 10 Amanda Mitchell-Boyask, "Be Prepared," Overtones (Fall 2006): 10. I I Kathye Kerchner, "Wit and Wiz According to Hillis: An Appreciation," The Voice of Chorus America 20 (Summer 1997): I I. 12 Hill,21. 13 "At the beginning of the 'Agnus Dei: [the chorus must] sing the 'i' of 'Dei' longer than printed so that they-produce a textual connection with the 'qui tollis peccata mundi: Do not give them a cut-off on four. Rather, given them a 'lifted release: as I call it, at the end of the second bar." Hillis, 30. 14 "The conductor has to understand the problem that the instrumentalist has: How The 2009 International Church Music Festival to give a cue to a horn player who has to Featuring the esteemed artistic staff of Sir David Willcocks, playa pianissimo note high or very low, so Paul Leddington Wright and the piano-duo, Nielson & Young. that the embouchure isn't compromised. Join hundreds of singers and friends /rom around the world to experience How to give the chorus a strong beat that Classic Sacred Choral music in the Eternal City of Rome. doesn't result in a spoken attack." Hillis quoted in Keene, 71. ACT TODAY! 15 Keene, "Appreciations of Margaret Hillis," Visit www.festcorps.com to learn about choral groups from more than a dozen The Voice of Chorus America 20 (Summer countries who will participate in this Silver Anniversary Celebration. 1997): IS. Or call Elwyn Raymer at (615) 377-9132. -:~ElST CORDS, Inc.

Choral Journal • September 2007 25