Table of contents
Acknowledgements
Dedication
Chapter One
Posture and conducting in one
Elements of expression
Starting and stopping
In-class activities for practice
Chapter Two
More on poise, breath, and the face
Adding expression to first patterns: three, four, and two
Adding the left hand on preps and cues
Foundations of the rehearsal process
In-class activities for practice
Session work
Chapter Three
Starting and releasing on beats other than one
The baton
More uses for the left hand: internal cues, pulls, hooks
Showing, listening, deciding in phrases
In-class activities for practice
Session work
Chapter Four
Cueing off the beat
Starting on offbeats: the unprepared hook
Even more uses for the left hand: crescendo and decrescendo
Error detection and depth analysis
In-class activities for practice
Session work
Chapter Five
Subdivided patterns
Asymmetric meters
Internal fermatas: broken and unbroken
Informed interpretation
In-class activities for practice
Session work
Chapter Six
Mixed meters
Directional cues
Larger forms for analysis, study, and practice
In-class activities for practice
Session work
Appendices
Appendix A: Evaluation form
Appendix B: Gestural conducting rubric
Appendix C: Setups and common expectations for wind, orchestral and vocal groups
Appendix D: Common music score terms
Appendix E: Table of common transposing instruments
Epilogue
Index
Biography
Ian Loeppky is Director of Choral Activities at the University of North Alabama.
“An insightful exploration of the conductor’s art—past, present, and future. With clarity and depth, it reveals how focused passion, clear gesture, and collaborative leadership unite ensembles, honor composers, and inspire audiences. A must-read for anyone seeking to understand the true heart and purpose of conducting.“
– Tim Sharp, former executive director, American Choral Directors Association
