iate. The first beat of the phrase in any kind of music
is usually longer and more prominent, in order that the various
divisions of the design may be clearly marked. It is in the length of
the stroke that the greatest diversity in time beating will occur in
the case of various individual conductors, and it is neither possible
nor advisable to give specific directions to the amateur. Suffice it
to say, that if he understands clearly the foregoing principles of
handling the baton, and if his musical feeling is genuine, there will
be little difficulty at this point.

[Sidenote: NON-MEASURED MUSIC]

The directions for beating time thus far given have, of course,
referred exclusively to what is termed "measured music," _i.e._, music
in which the rhythm consists of groups of regularly spaced beats, the
size and general characteristics of the group depending upon the
number and position of the accents in each measure. There exists,
however, a certain amount of non-measured vocal music, and a word
concerning the most common varieties (recitative and Anglican chant)
will perhaps be in order before closing our discussion of beating
time.

[Sidenote: RECITATIVE]

In conducting the accompaniment of a vocal solo of the recitative
style, and particularly that variety referred to as _recitativo
secco_, the most important baton movement is a down-beat after each
bar. The conductor usually follows the soloist through the group of
words found between two bars with the conventional baton movements,
but this does not imply regularly spaced pulses as in the case of
measured music, and the beats do not correspond in any way to those of
the ordinary measure of rhythmic music. They merely enable the
accompanying players to tell at approximately what point in the
measure the singer is at any given time, the up-beat at the end of the
group giving warning of the near approach of the next group.

[Sidenote: THE ANGLICAN CHANT]

In the case of the Anglican chant, it should be noted that there are
two parts to each verse: one, a reciting portion in which there is no
measured rhythm; the other, a rhythmic portion in which the pulses
occur as in measured music. In the reciting portion of the chant, the
rhythm is that of ordinary prose speech, punctuation marks being
observed as in conventional language reading. This makes it far more
difficult to keep the singers together, and in order to secure
uniformity, some conductors give a slight movem