How do musicians follow the movements of a conductor?

good question. i actually play in a orchestra.

ok. lets say that the conductor is going to be conducting in 4/4 time, (which is how many beats there are in each measure) heres the basics, there is always the downbeat, 1 is the downbeat & 4 would be the upbeat. so 2 and 3 are to the right and left. you can try this with your hand, (down side side up, 1, 2, 3, 4,) anyway, once your more experienced the conductor becomes more elaborate in the way he conducts, but there is ALWAYS the downbeat... so we musicians don't get lost. btw- we have to learn our part very well because, we have to be constantly watching the conductor for he might want to slow down or speed up.

i hope this helps.

You are missing the point. There are TWO situations at least in which the conductor is crucial - one is when they musicians MUST accurately follow the conductor because they are doing a film score and split-second timing is a must - no deviation is allowed. The conductor in this situation often wears headphones or follow cues on the film score. The other situation is the other end of the spectrum - when the orchestra IS the conductor's instrument; his/her interpretation of the various interpretive gradations of volume, expressive use of rubato (subtle speeding and slowing of tempi within phrases) and even choice of overall tempo and style will make ONE conductor's performance or recoding of a work VASTLY different than another's. If you cannot hear this, then perhaps you do not have sufficient exposure to the subtleties of classical music. If you think that YOU can just stand there and flap you arms, the yes, you are right - the orchestra will NOT pay any attention to you - they are better off listening to each other, and following the concertmaster (first chair violinist) and just getting to the END so you can go sit down! So - I have given you only TWO situations in which a conductor is crucial - one is functional, and the other is artistic. I NEVER allow students to conduct the ensembles that are my responsibility - until I explain it to them, they ALSO think that once the group knows a piece, the conductor is there just to start and stop them - and *flap their arms*. And I am sure that there are HORRIBLE amateur groups that slobber through things, with little regard for the conductor - or that there are conductors who are so bored and jaded that they do little else. But NEITHER of those categories of people should ever call themselves *musicians* - they are whores.

Conductor Movements

At the beginning level, the baton primarily keeps the beat (so everyone plays at the same speed) and provides stops and starts and indicates when an instrument should begin playing (the player will be counting the rests to know when it's time to come in, but the conductor will assure that all the players enter together at the exact same time), but in a professional level orchestra especially there is so much more going on. The conductor will use gestures with his hands to indicate rises and falls in volume, and the style (long notes, short notes, lots of expression, lots of power). The conductor's job is to get the musicians to play the piece to the best of their ability. Every nuance of the piece is conveyed to the musician in the way the hands are waved and in facial expressions on the conductor. A really good conductor can say almost everything he wants to communicate to the performer about how to play the piece with his movements.

By a concert you basically have the music memorized. You wouldn' tunderstand the cues given by the conductor unless you knew the piece well. Although musicians appear to be staring at their music, they watch the conductor in their periferel vision. The conductor helps keep the energy and so many other things but it wouldn't help to list them. Just trust me, the conductor does help a lot.

there are the basics (which any conductor must be able to do).

time and tempo are usually kept with the right hand, entrances and specific cues with the left hand.

since each conductor is unique, their gestures will also be a bit unique.

the great ones use their entire body at times to convey everything they need to in order to get the musicians to perform the music effectively.

also; each conductor has different challenges with their body. my friend (who is 5'6" 145 pounds) has to make large gestures to get a group to play loud, or heavy (marcato/pesante). I on the other hand, have problems getting groups to play soft or light (i stand 6' and weigh 275).

basically it takes time with a conductor to truly understand all their physical nuances, most musicians have very little trouble understanding what the conductor is attempting to convey,...

Its kinda hard to explain.When an instrument is resting(thats when you dont play"you count the beats in the music,which the conductor is keeping track of by moving his hand or wand thingy.Well when its that instrument whoes ben resting time to play he"Brings you in" which is just a signal telling you when to play,which is like the most important and hardest thing to do.He also controls the speed by how quickly he is moving is arms.They are actually rly important.