3 Preps, Cues, and Releases

The conductor has a vital role in managing the sound of the ensemble.  Through careful attention to detail the conductor teaches the ensemble when to come in and when to stop singing or playing.  This includes entrances, releases and everything in between.  It is important that the conductor become well-versed in how to get the ensemble to stop and start together.  There are three areas in which a conductor should be proficient to successfully lead an ensemble: preps, cues, and releases.

Hand Independence

A factor that will assist in prepping, cueing, and releasing is independence of hands.  Mirroring is a great method to use on occasion, but when the hands are free to express time, tempo, dynamics, cues, releases, emotion, and all that the music offers, there is a wonderful interplay between the director, ensemble and the music.  Novice conductors should do exercises that build hand independence.  This will lead to freedom in the hands so that one hand can beat time while the other is able to cue or release.

Preps:

In conducting, the preparatory gesture sets the tempo, dynamics, and style of the musical ideas that follow, allowing the singers or players to identify how they should perform the proceeding measures. There are several elements involved in a good preparatory gesture. Eye contact and breath are two of the most important.  Strong eye gaze directed toward ensemble members will make them aware of when to come in.  Eye contact is helpful even before the hand gesture is initiated, indicating to ensemble members that it is almost their turn.  Right before the beat in which the ensemble should sing or play, the conductor should breathe with the singers/players to indicate that it is time for them to come in.  Essentially, the ensemble members should be breathing with you.  The hand gesture on the prep is also quite important as it signals the preparation before singing or playing.  The prep gesture typically comes the beat or half a beat before the entrance of the singers/players.  It can occur on any beat, so it is important that the gesture aligns with the beat that is being prepped.  For example, if the choir sings on beat 3, the preparatory hand gesture would come on beat 2.  If the band plays on beat 4, the prep gesture would come on beat 3.  A bit trickier, if the group performs on the “and of 2,” the prep gesture would likely come on 2.

Finally, the prep must also include the tempo and expressive qualities of what is to come. The prep must be in tempo to ensure unity from the ensemble. Keep your hand still and maintain eye contact while audiating (singing in your head) a full measure before you move your hand for the prep.

Cues:

Cues save lives! The Conductor has a hand in helping the ensemble come in together successfully. This is done by cueing. Cueing allows the ensemble to know exactly when to come in. It’s vital that the conductor knows and understands the score thoroughly so they can lead the ensemble with clear cues.  Cues can happen with the hands, head, eyes, mouth, and other body gestures.  A good conductor is sensitive to the needs of the ensemble and learns which cues their group needs to be successful. In instrumental settings where the players do not see a full score, only their individual part, cueing is especially important as the individual players do not know where they fit into the whole.  Conversely, choir members regularly see all of the parts and know when they come in with respect to other sections.

There are three parts to a cue.  The prep, the actual cue, and the “thank you.”  For the prep, the conductor should look at the section (eye contact) in which they want to cue, before the time of cueing, and breathe before the beat in which the group should come in (this allows the group to breathe at the proper place before coming in).  The cue includes a hand motion that represents the style, dynamic, and tempo of the subsequent music. Cues can be given with either the time-keeping hand or the expressive hand. If given with the time-keeping hand, the cue should be anomalistic; take it out of the pattern in some way. This is most often accomplished by raising the height of the ictus for the cue, as can be seen below.

If the right hand is keeping time, the left hand can cue with the palm facing up or down.  The “thank you” is simply giving acknowledgement (feedback) that you are glad the group came in at the right time.  This feedback is nonverbal.  A quick smile, head nod, or thumbs up will suffice.  When the conductor must provide cues to multiple sections in succession, this feedback may not be given because of lack of time.  Still, this three-step combination (prep, cue, “thank you”) should be used when possible, as it is a great way to get the groups to come in at the right time and feel good about the work they’ve done.

Releases:

The release happens at the end of a phrase, word, or end of the song.  Ideally the ensemble will stop and start together, and the conductor has a hand in helping the group stop at the same time.  Releases can happen on any beat, sometimes fast or slow, and even loud or soft.  The conductor identifies, through score study, the appropriate release, and needs to prepare the ensemble to end together.

To achieve a good release, the conductor should make eye contact with the ensemble and use the hands to release the sound by tapping above the point of rebound, with the hand.  This can be done using one hand or both hands.  Another way in which to achieve a release is to simultaneously circle the right hand counterclockwise and the left hand clock wise and then stop the movement when the sound should stop.   Note: This author does not recommend a closed fist for releases, as it can have a negative effect on the sound at the release, espeicially in a choir, where voices tend to mimic the motion of the release affecting intonation or tension.

Stop Gestures

Releases that happen internally, or within a phrase, often are demonstrated with a stop gesture. Stop gestures function exactly as implied – there is a pause in movement at the point of the ictus before moving into the next beat, and the rebound is essentially eliminated. That hold at the point of the ictus reliably communicates both the timing of the beat and that something unusual is happening, typically a lift or pause in phrasing. Musical elements where stop gestures may be appropriate include phrase marks, quick rests, articulation markings, and punctuation marks in text. The images below demonstrate patterns with stop gestures.

Facial Expression

Another important component to the Prep, Cue, and Release that is often overlooked is facial expression. It is important that the face of the conductor reflects the intent of the music.  This should also be expressed as one cues and releases the ensemble.  If the music is sad, the facial expression of the conductor and subsequently the ensemble should be sad (with the necessary vocal space needed to sing well).  Facial expression should also be required of the performers, to better express and interpret the text and emotion behind the music properly.

About the author

name: Frances Fonza

institution: Southeastern Louisiana University

Frances Fonza serves as the Director of Choral Activities at Southeastern Louisiana University, where she imparts her passion for music education and conducting to both undergraduate and graduate students and directs the Concert Choir, Bella Voce (Treble Ensemble), and Gospel Choir.

Dr. Fonza has a rich background in choral music education, having taught at the middle and high school levels in Kentucky and served as the choir director and sight-singing teacher at the Duke Ellington School of the Arts in Washington, D.C. She earned a bachelor’s degree in music education from the University of Missouri-Columbia and master’s and doctoral degrees in choral music education and conducting from Florida State University.

Prior to her role at Southeastern, Dr. Fonza was Assistant Professor of Music Education and Director of Choral Activities at Wittenberg University in Springfield, Ohio. She has also been a faculty member at Stephen F. Austin State University and the University of Central Arkansas. Choirs under her direction have performed at state, regional, and national music festivals.

Dr. Fonza is an active singer, clinician, and adjudicator, frequently engaged for guest conducting opportunities both nationally and internationally. She has conducted all-state, honor, public school, community, and church choirs, and had the honor of leading the All-National Honor Choir in 2020 and 2023. Her research interests include community partnerships, healthy singing in Gospel music, the versatile voice, and innovative tone-building strategies for the choral classroom. She is an active member of the National Association for Music Educators and the American Choral Directors Association.