oment.

[Illustration]

If the rule just indicated were not observed in the above bar, of which
the first beat, marking a pedal-point, may be prolonged indefinitely,
the passage--

[Illustration]

could not be uttered with firmness and unity; the players, not watching
the conductor's stick, could not know when he decides the second beat
and resumes the movement suspended by the pedal-point.

The obligation upon the performers to look at their conductor necessarily
implies an equal obligation on his part to let himself be well seen by
them. He should,--whatever may be the disposal of the orchestra, whether
on rows of steps, or on a horizontal plane,--place himself so as to form
the centre of all surrounding eyes.

To place himself well in sight, a conductor requires an especial
platform, elevated in proportion as the number of performers is large
and occupies much space. His desk should not be so high that the portion
sustaining the score shall hide his face for the expression of his
countenance has much to do with the influence he exercises. If there is
no conductor for an orchestra that does not and will not watch him,
neither is there any if he cannot be well seen.

As to the employment of noises of any kind whatever, produced by the
stick of the conductor upon his desk, or by his foot upon the platform,
they call for no other than unreserved reprehension. It is worse than a
bad method; it is a barbarism. In a theatre, however, when the stage
evolutions prevent the chorus-singers from seeing the conducting-stick,
the conductor is compelled--to ensure, after a pause, the taking up a
point by the chorus--to indicate this point by marking the beat which
precedes it by a slight tap of his stick upon the desk. This exceptional
circumstance is the only one which can warrant the employment of an
_indicating noise_, and even then it is to be regretted that recourse
must be had to it.

While speaking of chorus-singers, and of their operations in theatres,
it may here be observed that chorus-masters often allow themselves to
beat time at the side-scenes, without seeing the conductor's stick,
frequently even without hearing the orchestra. The result is that this
time, beaten more or less ill, and not corresponding with that of the
conductor, inevitably induces a rhythmical discordance between the
choral and instrumental bodies, and subverts all unity instead of
tending to maintain it.

There is another traditional ba