What Distinguishes the Conductor from the Band Trainer?

In this article I aim to discuss how the role of the band trainer differs from the role of the conductor. One person can occupy both roles (at different times); indeed, this is often the case in the amateur field of music. However, it is common that one may become more skilled in one area than the other. For the purpose of this article, where I refer to 'he' it is intended to be interpreted as he/she.

The art of conducting dates back to the early 19th Century, and evolved along side the expressive, Romantic elements in music. It is Wagner who is labelled by many as the first virtuoso conductor. He introduced the interpretive aspect of conducting, where a conductor is not only responsible for the technical side of the performance, but also for displaying his own personal interpretation of the music shown in the score.

Berlioz was also an excellent conductor who laid down principles that are still valid today. He said of the art,

"…takes a great deal of practice, conducting being much more difficult than is generally believed, and one must have years of experience before one feels sure of oneself." ¹

There are two essential components of conducting - preparation and performance. Preparation is undertaken by the band trainer who is an experienced musician with good aural perception. The under lying role of the band trainer is to prepare the band technically for performance and to train them to become musicians themselves.

A band trainer inspires the band to perform at their highest potential by assisting them constructively. His job is to guide the band by clarifying all problems and discrepancies of dynamics, tempi, intonation, and balance of the band as well as ensuring that the correct notes are being sounded at the right time. He does this all according to the directions in the score.

A band trainer must know how to work with a group of people and ensure that he criticizes in the correct manner in order to gain the band's respect as opposed to resentment. He should also have a working knowledge of the technicalities of the instruments he is working with in able to advise players if need be. He must have good verbal communication and appreciate the different levels of skills of the musicians.

During rehearsal the trainer tunes the band, more than once if necessary. He takes the band through the music correcting wrong notes and timings. He may also feel the need to explain certain passages with regards to who has the melody and who is doubling who, for example, to give the musicians a greater understanding of the music. The trainer must have studied the score well enough to be able to answer any questions put to him regarding it.

Rehearsal time should be spent wisely by allocating the most time to the most demanding piece, and sometimes sectionals are required. The band trainer also listens to the ensemble and compares their sound with his own concept of the music. If the two differ he must either change his ideas or that of the band. The 'Grove Dictionary of Music and Musicians', states that a band trainer,

"…needs the most complete preparation of any musician. In addition to being able to read a score he needs a knowledge of harmony, counterpoint, orchestration and acoustics…an acute ear which can detect instantly not only wrong notes but errors of intonation and attack…and must have a thorough knowledge of the score before rehearsal whether he conducts from memory or not. "

Elizabeth A.H. Green states, in 'The Modern Conductor',

"To stand in front of an orchestra, band or chorus and beat time does not make one a conductor."

A conductor is more than a musician - he is an artist. Unlike the band trainer he imposes on the band his own expression and interpretation of the music. The conductor must have the skills necessary to translate his interpretation through gesture, which is second nature to him. A secure technique will encourage the band to react positively to the conductor, as communication is the essence of conducting. The conductor has a responsibility to the composer, which is primarily to interpret the music as he feels the composer intended. The interpretation of a particular work may vary greatly between conductors due to ambiguity of the composer's directions and the interpreter's personal feelings and opinions.

A conductor must prepare himself mentally by studying the score in depth. A knowledge of other works by the same composer may aid this study, and a general grounding of the history of music, especially the genre of the particular work, is essential. A conductor must also have a good ear and be able to think quickly, especially during performance.

It is during performance that the conductor works on the highest and most demanding level. He devotes himself to the music and constantly monitors the work's progress. He must instantly detect any faults in the music, where and why they are occurring, and quickly correct them by communicating with the band through gesture. A conductor must be aware of the factors that can influence a performance that are often not apparent during a rehearsal. These include the venue and the acoustics, which can affect the balance and overall dynamics and sound of the band. Also, pressure on players to perform can cause them to make mistakes or even speed up the tempo. The success of the performance depends upon the conductor's artistry.

The conductor must be able to combine his extensive knowledge and experience to re-create the reality of the work as it was in the composer's mind. The result should be a live musical image that lifts the band and audience emotionally.

The 'Grove Dictionary of Music and Musicians' defines conducting as,

"The direction of a musical performance by means of visible gestures designed to secure unanimity both of execution and of interpretation. "

The role of the band trainer is to train and prepare the musicians for a performance lead by the conductor. In the professional field a conductor is paid for his time spent with the ensemble. Therefore it is understandable that in some cases he is employed for one rehearsal only, followed by the performance. In this instance it is more than likely that a band trainer will train the band so that the conductor merely has to top-and-tail the music and perform it. In an orchestral situation the leader of the violin section may act as band trainer.

In certain cases the overall age and skill of a particular band may determine whether the role of the musical director is that of a band trainer or conductor. For example a school band of low standard will desperately require the assistance of a band trainer to ensure that the correct notes are being sounded at the right time. The players may not be skilled enough to be able to add expression to the music. However, a band full of experienced musicians will learn their parts in very little time with minimum effort. Here, the skill of a conductor is needed to interpret the music and add expression.

A band trainer is a musician who, during rehearsals, tells the band what to play and when to play. A conductor is an artist who builds on the foundations laid down by the band trainer to tell the band how to play. A band trainer deals with the technical aspects of the music (tempi, dynamics, balance, intonation), whereas a conductor imposes his own interpretation of the music with the use of phrasing, style and expression through gesture.

Maria Fricker 1996

Footnotes
1. From Grove - 'Dictionary of Music and Musicians'.

Bibliography
Green, Elizabeth A.H. - 'The Modern Conductor', Fourth Edition.
Grove - 'Dictionary of Music and Musicians'.
Hunsberger, Donald and Ernst, Roy - 'The Art of Conducting'.
Kennedy, Michael - 'The Concise Oxford Dictionary of Music'.
McElheran, Brock - 'Conducting Technique'.
Miles, Maurice - 'Are you Beating Two or Four?'.
Prausnitz, Frederik - 'Score and Podium'.
Rudolf, Max - 'The Grammar of Conducting', 2nd Edition.

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What Distinguishes the Conductor from the Band Trainer?