Orchestra Conductors – Study Video Clips

A list of contrasting conducting styles from YouTube.com – Compare the conductors pre-1950 with modern conductors. I’ve also included some college and student conductors so you can compare styles against veteran approaches.

Compare the left hand (non-baton) hand of each orchestra conductor and compare vocabularies.

  • Derek Gleeson – Dvorak New World Symphony
  • Dorian Wilson – Strauss
  • Hector Aguero – Mendelssohn Hebrides Overture
  • Colin Davis with Menuhin – Beethoven Violin Concerto
  • Seiji Ozawa – 1821 Overture
  • Claudio Abbato – Mahler 5th Symphony
  • Charles Latshaw – Beethoven Symphony #7
  • Herbert von Karajan – Dvorak New World Symphony
  • Charles Latshaw – Beethoven Egmont Overture
  • Leopold Stokowski – Bach Prelude D minor (for orchestra)
  • Alexander Kalajdzic – Mozart Concerto for Flute and Harp
  • Battle Royale – Orchestra soundtrack session
  • Seiji Ozawa – Nutcracker Suite Chinese Dance
  • George Solti – Wagner Tristan und Isolde
  • Seiji Ozawa – Borodin Polovetzian Dances
  • Arturo Toscanini – Verdi Hymn of the Nations
  • Leonard Bernstein – Mozart Requiem (Dies Irae)
  • Leonard Bernstein – Stravinsky Rite of Spring (Rehearsal)
  • James Levine – Wagner Die Walkure (Ride of the Valkyries)
  • I searched for videos of orchestral music conductors online and thought this would be a nice collection for aspiring conductors to watch and study. These free video clips can be viewed by clicking on the links. All part of the journey of creating better communication skills for your orchestra musicians.

    Buddy Rich Drum Battle and Bus Tape

    Two things I had always heard about was the Buddy Rich vs. Gene Kruppa drum battle and the Buddy Rich “Bus Tape”.

    You can find both of them easily on YouTube.com – The Rich Vs. Kruppa drum battle is to the song Sing Sing Sing. Rich is an obvious winner in that battle but I’ve heard that Kruppa was very sick during the battle, and Rich was also in his prime when it was filmed. Check it out for yourself, Sammy Davis. Jr. declares the battle a tie at the end.

    Now the Buddy Rich BUS TAPES! Buddy Rich laid into his band hardcore on the bus after a gig. He was very upset with them and told them they played like “high school dropouts”. It’s full of four letter words. When you’re playing with a band and tempers run high people often refer to these tapes, like “he’s as bad as Buddy Rich on the bus”, etc. You can also find this audio recording on YouTube.com – search for “Buddy bus”.

    20 Random Questions

    Here’s answers to a reader post. This is very self indulgent – but that’s the kind of thing that belongs only on a blog. Just be thankful it’s not a post about my cat.

    *****************

    Really enjoyed this young person’s “Report On a Music Producer“!

    How would you feel about answering 20 random questions from a (lol) slightly older group who would like to know more about you?

    ANSWER: Happy to do that. FYI, if you’re over 30 then you’re an old fart.

    – You graduated very young. Would you say this was more the result of having your abilities recognized and fostered, or, an unusually early discipline and drive?
    ANSWER: I skipped 3rd grade and 12th grade. I skipped 3rd grade because I went to a Montessori school in Memphis, TN (Lausanne) that let you go at your own speed. I chose fast. I skipped 12th grade because high school seemed like a waste of time. Instead of partying my last year I decided to double up on classes and graduate early. I REALLY enjoyed college, much better environment for study.

    – You’ve played amongst world renown artists and in some amazing places. Tell us about a performance that remains as vivid in your memory today as the day on which it occurred.
    ANSWER: Everything is always a blur to me. Friends have to remind me to get haircuts. But gigs that jump out as memorable were playing with Freddy Fender on his 60th birthday in Wisconsin. Playing on the DMZ between North and South Korea at a party for General Sherman (junior) Now THAT was a party! Singing with Archie Drake and Seattle Opera in Amahl and the Night Visitors. Playing with William Shatner at the Cowboy Palace in Chatsworth, CA. When Paul Shaffer sat in and played my keyboards at the Gold Coast Casino in Las Vegas, NV. My first piano recital when I played “Jesu, Joy of Man’s Desiring” (a woman told me she thought it was very good and I had never received a compliment like that from a stranger, it was a good feeling). I’ve played two country dance gigs where a dancer had a heart attack in the middle of a set. One made it, one didn’t – I remember both of them. What a great way to go….

    – Enormously gifted…tell us something you CAN’T do.
    ANSWER: LOTS of things I can’t do. Keeping small talk going for more than two minutes. Guitar. Cleaning my office (I have little elves that help me). DANCING. The “Wedge” fugue by JS Bach. I always miss a chord in the turnaround to “Georgia On My Mind” – and it’s so simple, that really bugs me. I cannot listen to music or play piano and carry on a conversation at the same time.

    – You’ve traveled extensively – what’s your favorite city?
    Of course I love the Seattle, WA area up to the Canadian border, and Mount Vernon, WA. For towns I’ve gigged at I would pick Albuquerque New Mexico, Hayward Wisconsin, Santa Barbara California and Colorado Springs, CO. My favorite international towns are Kobenhagn Denmark (Copenhagen) and Shanghai China.

    – Lol, I read once that you drive rather fast. Any bumper stickers on your vehicle?
    ANSWER: Au contraire. My friends all say I drive like an old grandma. I have one bumper sticker – BIG BEAR. It’s from Big Bear Lake in California. I used to do a lot of nature field recording there.

    – You’re given 24 hours of sheer bliss and contentment; what would you be doing?
    ANSWER: Exactly what I’m doing now. The rest is not appropriate for print.

    – What is the most common trait amongst your close friends?
    ANSWER: They enjoy least to talk about news and other people, but enjoy most to talk about ideas.

    – Three words your family and friends would use to describe you.
    ANSWER: My friends are overly generous with me. I cannot post their kind and sometimes admonishing words because then they would be mine, not theirs. So I will answer your question in a more clever fashion.

    THREE WORDS FRIENDS USE TO DESCRIBE ME:

    1. Conrad
    2. is
    3. a

    – Who have been your greatest mentors/teachers?
    ANSWER: George Fiore. Richard Sparks. Marlene McComb. Anne Rossiter. Archie Drake. Billie Jo Richards. George Shangrow. Richard Farner. Ron Stein. Freddy Fender. And I bet that none of them know that! All of these people are truly amazing.
    – As a network Administrator, you provide a very large number of forums, including those for discussions of faith. Do you have a favorite book of the Bible?
    ANSWER: The books of Corinthians.

    – Your experience in the music industry is very diverse, with projects ranging from classical to rap. What is it that would lead you to choose one project over another should they arise at the same time?
    ANSWER: That happens a lot. I picture the end product – the one that makes me feel best for the time invested is the one I choose. That might be my Achilles heel.

    – I’d rather be dunked in boiling oil than __________?
    ANSWER: Do another Karaoke recording demo.

    – At what historical world event would you like to have been present?
    ANSWER: THE REFORMATION!

    – Favorite authors?
    ANSWER: Kahlil Gibran. Scott M Peck. Carlos Castaneda.


    – You seem to thrive, and indeed, even gravitate towards challenging conditions. Are you a rebel, or a visionary?

    ANSWER: If I say I’m a rebel then I sound like a meaningless troublemaker and if I say visionary then I would be pompous. I have heard the “visionary” word thrown my way a lot but think it extremely poorly placed. To me, to be a visionary, you should contribute something that really impacts mankind in a meaningful way. Something that pushes the tipping point in a better direction. Sadly I have yet to do anything remotely like that.

    – You’ve been known to really enjoy a good prank; are you someone others avoid on April Fool’s Day?
    ANSWER: You’re safe on April Fool’s – but watch out for every other day of the year. (Doing a joke on April Fool’s is too obvious.)

    – You compose, conduct, teach, produce, perform – are there any avenues musically you have yet to take your skills to?
    ANSWER: I have not written a hit musical. I have not scored a major motion picture release. I have not yet been hired to score a hip hop album with orchestra. I have not conducted an opera. I have not conducted a major symphony. I have not worked for Cirque Du Soleil. I have not been musical director for a long running show on the Las Vegas strip. Yes, there are still a lot of things left to do. Hehe….as I was writing those I had to go back and re-word several of them because I realized that I have or am doing many of them. Life is good.

    – You’re a contestant – Fear Factor, or Jeopardy?
    ANSWER: JEOPARDY!

    – Hilary’s bid for the Presidency is being watched with great interest. What woman (or women) would you like to see nominated?
    ANSWER: I don’t see a difference.

    – I once said I had a mental picture of you hosting a dozen dinner guests, and breaking the ice by throwing out a very hot topic…then sitting back, and watching with great satisfaction. Tonight, what 12 guests would you like to invite? (And, P.S. – From the thousands of us you have drawn together in various forums, theatres, churches, arenas and numerous other venues, thank you. We’ve enjoyed ‘sitting’ at your table!)
    ANSWER: My Twelve Dinner Guests

    1. Carl Sagan
    2. Socrates
    3. Freddy Mercury
    4. Michael Shermer
    5. Martin Luther
    6. J.S. Bach
    7. Victor Borge
    8. Paul
    9. Klaus Nomi
    10. Orson Welles
    11. William Shakespeare
    12. Mark Twain

    Then at dinner I turn the conversation over to religion and politics. Ah, what a great round of talk that would be to see. And then they would each have to perform a work of their own creation. Klaus Nomi would not have much to say, I just want to see him perform after dinner. We should probably invite Ann Druyan to keep Carl Sagan in line.

    Conductor Jokes

    What’s the difference between a bull and an orchestra?
    The bull has the horns in the front and the asshole in the back.

    A conductor and a violist are standing in the middle of the road. which one do you run over first, and why?
    The conductor. Business before pleasure.

    Why are conductor’s hearts so coveted for transplants?
    They’ve had so little use.

    What’s the difference between a conductor and a sack of fertilizer?
    The sack.

    What do you have when a group of conductors are up to their necks in wet concrete?
    Not enough concrete.

    Did you hear about the planeload of conductors en route to the European Festival?
    The good news: it crashed.
    The bad news: there were three empty seats on board.

    What’s the difference between a symphony conductor and Dr Scholl’s footpads?
    Dr Scholl’s footpads buck up the feet.

    What’s the difference between a pig and a symphony orchestra conductor?
    There are some things a pig just isn’t willing to do.

    What is the ideal weight for a conductor?
    About 2 1/2 lbs. including the urn.

    Why is a conductor like a condom?
    It’s safer with one, but more fun without.

    What’s the difference between God and a conductor?
    God knows He’s not a conductor.

    What’s the definition of an assistant conductor?
    A mouse trying to become a rat.

    What’s the difference between alto clef and Greek?
    Some conductors actually read Greek.

    What do do with a horn player that can’t play?
    Give him two sticks, put him in the back, and call him a percussionist.
    What do you do if he can’t do that?
    Take away one of the sticks, put him up front, and call him a conductor.

    What’s the difference between an opera conductor and a baby?
    A baby sucks its fingers.

    A musician calls the symphony office to talk to the conductor. “I’m sorry,he’s dead,” comes the reply.

    The musician calls back 25 times, always getting the same reply from the receptionist. At last she asks him why he keeps calling. “I just like to hear you say it.”


    A musician arrived at the pearly gates.

    “What did you do when you were alive?” asked St. Peter.

    “I was the principal trombone player of the London Symphony Orchestra”

    “Excellent! We have a vacancy in our celestial symphony orchestra for a trombonist. Why don’t you turn up at the next rehearsal.”

    So, when the time for the next rehearsal arrived our friend turned up with his heavenly trombone [sic]. As he took his seat God moved, in a mysterious way, to the podium and tapped his batton to bring the players to attention. Our friend turned to the angelic second trombonist (!) and whispered, “So, what’s God like as a conductor?”

    “Oh, he’s O.K. most of the time, but occasionally he thinks he’s von Karajan.”


    It was the night of the big symphony concert, and all the town notables showed up to hear it. However, it was getting close to 8 o’clock and the conductor hadn’t yet shown up. The theater’s manager was getting desperate, knowing that he’d have to refund everyone’s money if he cancelled the concert, so he went backstage and asked all the musicians if any could conduct.

    None of them could, so he went around and asked the staff if any of them could conduct. He had no luck there either, so he started asking people in the lobby, in the hope that maybe one of them could conduct the night’s concert.

    He still hadn’t found anyone, so he went outside and started asking everybody passing by if they could conduct. He had no luck whatsoever and by this time the concert was 15 minutes late in starting. The assistant manager came out to say that the crowd was getting restless and about ready to demand their money back.

    The desperate manager looked around and spied a cat, a dog, and a horse standing in the street. “Oh, what the heck,” he exclaimed, “let’s ask them–what do we have to lose?”

    So the manager and assistant manager went up to the cat, and the manager asked “Mr. cat, do you know how to conduct?” The cat meowed “I don’t know, I’ll try,” but though it tried really hard, it just couldn’t stand upright on its hind legs. The manager sighed and thanked the cat, and then moved on to the dog.

    “Mr. dog,” he asked, “do you think you can conduct?” The dog woofed “Let me see,” but although it was able to stand up on its hind legs and wave its front paws around, it just couldn’t keep upright long enough to last through an entire movement.

    “Well, nice try,” the manager told the dog, and with a sigh of resignation turned to the horse. “Mr. horse,” he asked, “how about you–can you conduct?” The horse looked at him for a second and then without a word turned around, presented its hind end, and started swishing its tail in perfect four-four time.

    “That’s it!” the manager exclaimed, “the concert can go on!” However, right then the horse dropped a load of plop onto the street. The assistant manager was horrified, and he told the manager “We can’t have this horse conduct! What would the orchestra think?”

    The manager looked first at the horse’s rear end and then at the plop lying in the street and replied “trust me–from this angle, the orchestra won’t even know they have a new conductor!”


    Once upon a time, there was a blind rabbit and blind snake, both living in the same neighborhood. One beautiful day, the blind rabbit was hopping happily down the path toward his home, when he bumped into someone. Apologizing profusely he explained, “I am blind, and didn’t see you there.”

    “Perfectly all right,” said the snake, “because I am blind, too, and did not see to step out of your way.”

    A conversation followed, gradually becoming more intimate, and finally the snake said, “This is the best conversation I have had with anyone for a long time. Would you mind if I felt you to see what you are like?”

    “Why, no,” said the rabbit. “Go right ahead.”

    So the snake wrapped himself around the rabbit and shuffled and snuggled his coils, and said, “MMMM! You’re soft and warm and fuzzy and cuddly…and those ears! You must be a rabbit.”

    “Why, that’s right!” said the rabbit. “May I feel you?”

    “Go right ahead.” said the snake, stretching himself out full length on the path.

    The rabbit began to stroke the snake’s body with his paws, then drew back in disgust. “Yuck!” he said. “You’re cold…and slimy… you must be a conductor!”


    A guy walks into a pet store wanting a parrot. The store clerk shows him two beautiful ones out on the floor. “This one’s $5,000 and the other is $10,000.” the clerk said.

    “Wow! What does the $5,000 one do?”

    “This parrot can sing every aria Mozart ever wrote.”

    “And the other?” said the customer.

    “This one can sing Wagner’s entire Ring cycle. There’s another one in the back room for $30,000.”

    “Holy moly! What does that one do?”

    “Nothing that I can tell, but the other two parrots call him ‘Maestro’.”


    “Mommy,” said the little girl, “can I get pregnant by anal intercourse?”

    “Of course you can.” her mother replied. “How do you think conductors are made?”


    A new conductor was at his first rehearsal. It was not going well. He was wary of the musicians as they were of him. As he left the rehearsal room, the timpanist sounded a rude little &quotbong.” The angry conductor turned and said, “All right! Who did that?”


    A violinist was auditioning for the Halle orchestra in England. After his audition he was talking with the conductor. “What do you think about Brahms?” asked the conductor.

    “Ah…” the violinist replied, “Brahms is a great guy! Real talented musician. In fact, he and I were just playing some duets together last week!”

    The conductor was impressed. “And what do you think of Mozart?” he asked him.

    “Oh, he’s just swell! I just had dinner with him last week!” replied the violinist. Then the violinist looked at his watch and said he had to leave to catch the 1:30 train to London.

    Afterwards, the conductor was discussing him with the board members. He said he felt very uneasy about hiring this violinist, because there seemed to be a serious credibility gap. The conductor knew for certain that there was no 1:30 train to London.

    A Player’s Guide for Keeping Conductors in Line

    A Player’s Guide for Keeping Conductors in Line

    by Donn Laurence Mills

    If there were a basic training manual for orchestra players, it might include ways to practice not only music, but one-upmanship. It seems as if many young players take pride in getting the conductor’s goat. The following rules are intended as a guide to the development of habits that will irritate the conductor. (Variations and additional methods depend upon the imagination and skill of the player.)

    1. Never be satisfied with the tuning note. Fussing about the pitch takes attention away from the podium and puts it on you, where it belongs.
    2. When raising the music stand, be sure the top comes off and spills the music on the floor.
    3. Complain about the temperature of the rehearsal room, the lighting, crowded space, or a draft. It’s best to do this when the conductor is under pressure.
    4. Look the other way just before cues.
    5. Never have the proper mute, a spare set of strings, or extra reeds. Percussion players must never have all their equipment.
    6. Ask for a re-audition or seating change. Ask often. Give the impression you’re about to quit. Let the conductor know you’re there as a personal favor.
    7. Pluck the strings as if you are checking tuning at every opportunity, especially when the conductor is giving instructions. Brass players: drop mutes. Percussionists have a wide variety of dropable items, but cymbals are unquestionably the best because they roll around for several seconds.
    8. Loudly blow water from the keys during pauses (Horn, oboe and clarinet players are trained to do this from birth).
    9. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not playing at the time. (If he catches you, pretend to be correcting a note in your part.)
    10. At dramatic moments in the music (while the conductor is emoting) be busy marking your music so that the climaxes will sound empty and disappointing.
    11. Wait until well into a rehearsal before letting the conductor know you don’t have the music.
    12. Look at your watch frequently. Shake it in disbelief occasionally.
    13. Tell the conductor, “I can’t find the beat.” Conductors are always sensitive about their “stick technique”, so challenge it frequently.
    14. As the conductor if he has listened to the Bernstein recording of the piece. Imply that he could learn a thing or two from it. Also good: ask “Is this the first time you’ve conducted this piece?”
    15. When rehearsing a difficult passage, screw up your face and shake your head indicating that you’ll never be able to play it. Don’t say anything: make him wonder.
    16. If your articulation differs from that of others playing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.
    17. Find an excuse to leave rehearsal about 15 minutes early so that others will become restless and start to pack up and fidget.
    18. During applause, smile weakly or show no expression at all. Better yet, nonchalantly put away your instrument. Make the conductor feel he is keeping you from doing something really important.

    It is time that players reminded their conductors of the facts of life: just who do conductors think they are, anyway?

    Donn Laurence Mills is the NSOA contributing editor. He holds music degrees from Northwestern University and Eastman School of Music. A conductor and music educator, he is also the American educational director for the Yamaha Foundation of Tokyo.

    Brigadoon – Piano Part

    So the mystery is finally solved about the Piano part in the orchestration for the Brigadoon musical.

    I just received my scores. The piano part is “boom-chucks” during the cut time pieces, glissandos into sections and occasional celeste parts. I wouldn’t say it’s an essential part, but definately will add to the rhythm section.

    The official Brigadoon orchestration calls for the timpani player to double on snare and brushes – there is no dedicated trap set drum part.

    For my orchestra I split the rhythm section up like this:

    Percussion – Timpani, snare drum, cymbals
    Percussion – Bells (have keyboard player cover bell parts from percussion score)
    Piano – Have piano player play the piano part lightly as written.

    If you listen to the CD soundtrack of Brigadoon, you’ll hear the piano come in and out, especially on the glissandos. My assumption is this was orchestrated at a time when dedicated rhythm section and trap set drummers weren’t the norm yet in Broadway orchestra pits. If it was orchestrated today I think it would lean towards a regular drum kit, with a couple keyboard players covering bells and accentuating rhythms.

    If you’re conducting this show you’re probably using the piano/vocal reduced score – know that the piano part in the orchestration is not a doubling of the reduced piano score – it mainly focuses on rhythm and light chord flourishes.

    Write a Report on a Music Producer

    Your teacher gives you the assignment to write a report on someone who does a profession you’re interested in. I receive many emails from people doing reports that need info and try to reply when I can.

    This was just forwarded to me – a local child did this school report on me. Not all the info is accurate, but the flavor is all there. For the record, I’ve yet to see myself mentioned in any article where all the info was correct – but that’s the nature of the biz.

    Thank you to the person that wrote this. I’m very honored.

    REPORT ON A MUSIC PRODUCER

    My report on a musical composer is on a man named Conrad Askland. He is from Bellevue, WA He now lives in the desert of Southern California.

    He is a composer and arranger he also has his own recording studio and he also has a company he started it is called Road Records. He started his studio in 1989 and he has produced many albums for artist in his studio. And then they are sold out of his company Askland Technologies.

    If you have ever called GTE and been put on hold you are listening to Mr. Asklands music. He composed classical orchestral music that is used by GTE for their hold music when customers call them. He also composes music for radio and television through a company called jinglemonkey.com

    When Conrad was little his grandmother was a jazz pianist and his grandpa was a sax player and his father was an amateur opera singer. When he was in school he didn’t get along well with his peers and he found out that he loved music and that love would help him through school. When he was 8 he was in the Northwest boys Choir and he got to travel to Europe and sing in many cathedrals. He also sang with the Seattle Opera.

    When he was 9 he started to play the piano. At the age of 10 he started the French horn he was enrolled in Honors Youth Orchestra. He took his French horn lessons from the 1st chair of the Seattle Symphony. At 12 he started playing the Bass Guitar. Conrad didn’t like being in High School and he graduated two years early with 4 honors including an academic scholarship. At 18 he played the piano for Nordstrom in Bellevue WA. When he was 21 he went to the Miami Univeretsity to study copyright law and international finance when he was done he moved to Victorville Ca where is lives today.

    Mr. Askland still comes to Washington to perform and also work he plays the music for many theater productions. He has played the music for Charlie and the Chocolate Factory as well as Suessical the musical.