note. In 4-4 a final [dotted half-note symbol] would therefore
be held up to the _beginning_ of the fourth beat, _i.e._, until one is
on the point of counting _four_; a final [whole note symbol], until
the beginning of the first beat of the following measure. It is
because of carelessness or ignorance on this point that composers now
sometimes resort to such devices as [music notation] to show that the
final tone has four full beats. In such a case, the ending [music
notation] means exactly the same thing as [music notation], the tone
being released precisely on _one_ of the following measure, in either
case.

[Sidenote: THE HOLD]

In the case of a hold (_fermata_), the movement for the cut-off
depends upon the nature of what follows. If the tone to be prolonged
forms the end of a phrase or section, the baton is brought down
vigorously as at the end of a composition; but if the hold occurs at
the end of a phrase in such a way as not to form a decided closing
point, or if it occurs in the midst of the phrase itself, the cut-off
is not nearly so pronounced, and the conductor must exercise care to
move his baton in such a direction as to insure its being ready to
give a clear signal for the attack of the tone following the hold.
Thus, with a hold on the third beat, [music notation] the cut-off
would probably be toward the right and upward, this movement then
serving also as a preliminary for the fourth beat to follow.

[Sidenote: THE ATTACK IN READING NEW MUSIC]

For working in rehearsal it is convenient to use some such exclamation
as "Ready--Sing," or "Ready--Play," in order that amateur musicians
may be enabled to attack the first chord promptly, even in reading new
music. In this case the word "Ready" comes just before the preliminary
movement; the word "Sing" or "Play" being coincident with the actual
preliminary movement. In preparing for a public performance, however,
the conductor should be careful not to use these words so much in
rehearsing that his musicians will have difficulty in making their
attacks without hearing them.

[Sidenote: LENGTH OF THE STROKE]

The length and general character of the baton movement depend upon the
emotional quality of the music being conducted. A bright, snappy
_Scherzo_ in rapid tempo will demand a short, vigorous beat, with
almost no elaboration of back-stroke; while for a slow and stately
_Choral_, a long, flowing beat with a highly-elaborated back-stroke
will be appropr