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Aside from this two-handed conducting technique, which constituted the vast majority of the left hand use, Katseanes also used his left hand for changes in dynamics, in a manner similar to the way we first discussed the use of the left hand in class.

He used the same turning concepts that we discussed in class, facing the palm downward for decrescendos, and upward for crescendos.

  • In class, we described the
  • ‘beach ball’ rounded movement
  • for these, which Katseanes did not appear to use,
  • but his technique still seemed effective in expressing dynamic changes.
  1. Cuing was also a notable use of Katseanes’s left hand,
  2. important in this performance
  3. because of the fairly frequent expressive instrumental solos.

This often consisted of an upbeat and a point in the soloist’s direction, though in a couple of instances, he was seen counting down “three, two, one” on his left hand before cuing the soloist, unambiguously marking the correct time for him to begin.

This also seemed effective in conveying the correct message to the performers.