I get that, but it is when someone other than the Conductor gets it wrong which sorts out the situationally aware conductors from the performing penguins. Like when a soloist come in a bar late, due to nerves when he has done it twenty times perfectly previously, or maybe is sight reading as the regular player has decided he would rather holiday in Tampa Florida or take his wife out to celebrate her birthday than play at the Silver Threads Christmas party.Have you ever been to a conducting workshop, David? I have - the one run by Russell Gray, with my band, and I can assure you that the improvement in the participants was clearly audible.
MTA - I should point out that, before the workshop, the band were told by our MD that, in order to help the participants, and show them where they were getting it right or wrong, that they should play exactly as each conductor told them to play, even if they felt it was wrong - and leave it to Russell to explain to the participant how he or she should change their conducting to get a better performance from the band.
I think that sums it up nicely, imagine trying to get people who don't read music to learn the Alto or Tenor parts. Its where modern "Pop" singers out perform their predecessors, taking a tune with just a drum beat without a voice lead accompaniment and being in tune when the (tuned) accompaniment chimes in.From shared Concerts the impression that I gain is that Choir Conductors don’t beat strick time. To me the gestures of Choir Conductors are more about the relative timing, rhythm and articulation of collective vocal expression in unison than providing a beat upon which the more complex music of Brass Bands is built by individual and indepentantly acting players. When the Band and Choir play together you’re typically OK if the Band is conducted in its normal way ‘cause the Band’s music provides the musical framework which guides and supports what the Choir add (just like when they sing along to a Piano).