r.

If the movement is still slower, there can be no hesitation; the only
way to ensure unity of execution is to beat all the quavers, whatever be
the nature of the written bar.

[Illustration]

[Illustration]

[Illustration]

Taking the three measures shown above in order, the conductor must beat
three quavers down, and three up, for the time of 6/8:--

[Illustration]

Three down, three to the right, and three up, for the time of 9/8:--

[Illustration]

Three down, three to the left, three to the right, and three up, for the
time of 12/8:--

[Illustration]

A dilemma sometimes presents itself when certain parts--for the sake of
contrast--are given a triple rhythm, while others preserve the dual
rhythm.

[Illustration]

If the wind-instrument parts in the above example are confided to
players who are good musicians, there will be no need to change the
manner of marking the bar, and the conductor may continue to subdivide
it by six, or to divide it simply by two. The majority of players,
however, seeming to hesitate at the moment when, by employing the
syncopated form, the triple rhythm clashes with the dual rhythm, require
assurance, which can be given by easy means. The uncertainty occasioned
them by the sudden appearance of the unexpected rhythm, contradicted
by the rest of the orchestra, always leads the performers to cast an
instinctive glance towards the conductor, as if seeking his assistance.
He should look at them, turning somewhat towards them, and marking the
triple rhythm by very slight gestures, as if the time were really three
in a bar, but in such a way that the violins and other instruments
playing in dual rhythm may not observe the change, which would quite
put them out. From this compromise it results that the new rhythm of
three-time, being marked furtively by the conductor, is executed with
steadiness; while the two-time rhythm, already firmly established,
continues without difficulty, although no longer indicated by the
conductor. On the other hand, nothing, in my opinion can be more
blamable, or more contrary to musical good sense, than the application
of this procedure to passages where two rhythms of opposite nature
do not co-exist, and where merely syncopations are introduced. The
conductor, dividing the bar by _the number of accents he finds contained
in it_, then destroys (for all the auditors who see him) the effect of
syncopation; and substitutes a mere change of time for a