Drum major conducting patterns

Many type of of these trends deserve to be provided via the basic patterns to aid through phrasing and/or dynamics. These patterns are all based upon the 4 beat pattern, yet they place much less prestige on the focal allude, the rebound and various other proper conducting guidelines. We"ve taught you the fundamental rules; right here is just how to bend them.

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In the Flash movies below, the fads are displayed slowed down to make them less complicated to follow.

The Down-Down-Reverse-Around Pattern


This is the "down-down-reverse-around" pattern. The initially 2 beats are straightforward downbeats, but the third beat rebounds in a circle towards the outside. The circle proceeds roughly until beat 4. At beat 4, offer a flick of the wrist at the focal allude (your hand also have to be there) and rebound up.

This pattern has a weak fourth beat. It is extremely useful in conducting the last half note on the last 2 beats of a measure. This pattern is good for building as much as a brand-new expression or as part of a dynamic adjust. This pattern is mainly not supplied over and also over, yet instead just as required.


The" down-in-out-up" pattern is a variation on the four pattern. The first beat is a normal dvery own beat. The second beat comes down, hits the focal suggest and also goes across the chest at a 45 degree angle. The third beat retraces the second beat"s route across the chest, hits the focal point and also veers out at an additional 45 degree angle, this time amethod from the body. The fourth beat come ago to the focal point and rebounds up. The pattern looks choose a dvery own pointed arrow .Be mindful of maintaining the focal suggest and using your arm fairly than the wrist.

Softening the sharp arrowhead into more free swinging pattern is good for simply that: swing beats. This have the right to be done by turning the 45 degree angles right into slight curves (the arrowhead will certainly look more choose an anchor).

This is a daunting pattern to mirror the hands on since the hands would both come in in the direction of the chest on beat two and also maybe hit each various other. Even if they do not touch, the proximity of the two hands can reason the conductor to sluggish beat 2 and also speed up beat three to compensate, and also for this reason mess up the tempo.

Watch Kate doing a down-in-out-up pattern! Notice how she accents the last beat through her left hand.



The "thump" pattern is great for exceptionally rapid music. The first beat concerns the focal point at an angle. The second beat slides in on a aircraft with the focal point. The third beat slides back throughout the focal plane to wbelow the initially beat ended. The fourth beat retraces the first beat back up. The pattern does not rebound, yet still accentuates all the beats, hitting the first beat especially strongly (freeze on beat 1 for a moment).

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This pattern is mainly wrist motion (because of the rapid speed). Since your hands go in, watch out that your arms stay acomponent (or your hands will certainly run together and mess up the tempo).

Never use this pattern to readjust tempo.

Moving Focal Points

In these next fads, the focal suggest moves. These fads are exceptionally expressive in nature, serving to not only store time however to additionally guide the musicians through phrasing. They are great patterns for conducting musical ensembles various other than a marching band also. They have the right to be offered in that capacity, yet as a result of the nature of the marching band and marching band music, rarely will certainly a drum significant or area commander uncover these patterns as valuable, or as efficient as an additional more structured pattern.


This is another four pattern. This is a bigger pattern, one excellent for modeprice and sluggish music. Beat one comes dvery own and also, instead of rebounding up, goes across the chest, curving up (think "over a hill" ) and dvery own (think "right into a valley") then hangs a bit at beat 2. The ideal hand also then slides in a long curve right into beat 3 which is out, ameans from the body on the other side of the conductor. Beat 4 slides in and also approximately prepare for beat one.

DO NOT MIRROR HANDS, at leastern for the entire pattern. (Crossing hands is a no-no.)

If you desire to usage the left hand also, only use it for beats three and also four. After beat 4 drop the left hand to your side or stomach to leave room for the best hand also, which will certainly soon be crossing your body.

This is a pattern good for even more formal teams, orchestras, choirs, and also symphonic bands. This pattern can be used in marching band for, say, a ballad.


The legato pattern is an additional 4 pattern. It is good for legato music via soaring phrases.

When conducting, this expressive pattern provides only the right hand (don"t mirror). The pattern is equivalent to the above pattern in that it crosses the body for beat two and extends ameans from the body on beat three.

The wrist is much even more tranquil for this pattern. From beats two to 3 the wrist leads, "pulling" the pattern out. The wrist leads aacquire from three to four, "pulling" the pattern up.

The size of the pattern is fairly huge because the majority of legato music has a slow or moderate tempo.

A marching band also conductor would many most likely never use this pattern on the area. This is another pattern which is suited better for symphonic bands, vocal groups and orchestras.