4 The Baton

To baton or not to baton

For many choral conductors, the baton is the most intimidating inanimate object they encounter on their conducting journey.  As stated earlier, “Conducting, at it’s most basic, is an effort to represent aural images with physical movement.” The baton should support this idea, rather than cause it to be more convoluted. Traditionally, instrumental conductors use batons, and choral conductors often do not.  There are many choral conductors who always use batons, and most will when conducting choral ensembles combined with instrumental ones.  The question of whether to baton or not to baton should be given several considerations; none of those should be the conductor’s own comfort level with the baton.  The goal of this chapter is to provide clear instructions on baton grip and position so that you feel comfortable with a stick in your hand. However, all the directions in the world will not make up for what can be gained with diligent practice.  The more you use a baton, the more confident you will feel going into your next rehearsal or performance.

Choosing a Baton

A baton should be a helpful addition, rather than a hindrance.  It’s important to find a lightweight baton that fits your body and hand size. If it’s too long or heavy, it can become unwieldy. If at all possible, trying out different batons in person will be the most helpful, but it may not always be possible.  In a conducting class, your instructor may have specific requirements for what you are to purchase; once you have your own ensemble, that choice can be yours. It is said that the size of your baton should be the same as the length of your forearm; it does not need to be exactly that size, though it’s a good place to start.  There are many different styles and colors of handles available now, and that choice is completely determined by personal preference.

Different batons also have different balance points—this is where you hold the baton so that it “floats,” or is parallel to the ground without you manipulating it.  Traditionally the balance point is where the handle meets the baton shaft; however, this is not always true, and again falls to personal preference of where you would like to hold the baton.  Other considerations for baton size and color concern the conducting situation:

• How far will your ensemble be from you?
• Is the rehearsal/performing space well lit?
• What color are the walls?
• How many performers will you be working with?

The most common for choral directors is approximately 14-15 inches long with a white shaft, again, depending on the size and preference of the conductor.

Hand Position

The exploratory practice above likely illuminated several choices on efficient and effective baton positions. Since every person’s anatomy is unique, your choices may not be the same as the conductor next to you. The following suggestions will be appropriate the vast majority of conductors.

When utilizing a baton,  keep the hand position similar to when conducting without; the baton is simply an extension of the hand.  When holding a baton:

• Palm faces the ground
• Hold the baton at the balance point: where the handle meets the shaft
• Baton is placed between pad of thumb and near the first joint of the index finger; the rest of the fingers loosely wrap around it
• The angle of the baton should be closer to 90° away from the body, rather than at a 45° (or larger) angle
• Grip on the baton should be firm, but not tight
• Handle should lightly touch the palm of the hand (where on the palm will be determined by the shape of the handle, hand size, and balance point of the baton)
• Wrist should be slightly flexible, not rigid

Common Errors

• Holding the baton like a sword, with palm perpendicular to the ground. While palm is facing the ground, it should move as one unit with the hand, wrist, and forearm.  If it moves too much on its own, the beat becomes less clear.
• Not holding the stick at the balance point—lightly holding the baton between thumb and index finger where the baton is parallel to the ground—is essential. If where you’re holding the baton causes it to be at an angle, adjust the location of your fingers on the baton.
• If the baton is held too high or low against the index finger, there will be less control, and it’s often more challenging to show a clear ictus. If the rest of the fingers are wrapped too tightly it causes unnecessary tension and fatigue, and too loose causes distraction with finger motion.
• Having the angle of the baton too close to a diagonal (45° angle) away from your body. This is less clear for the ensemble, particularly for those to the conductor’s right.
• Similar to the discussion on Body Mapping in Chapter 1, if the grip on the baton is too tight, there will be unnecessary tension and fatigue that extends through the arm into the shoulder. If it’s too loose, there will be little control over the stick.
• Depending on the size and shape of the handle, it will touch the palm of your hand; however, if it’s too far into your hand, you can lose control of the stick which causes an unclear beat pattern.
• If wrist is too rigid, there will be tension and fatigue felt throughout the arm, especially after a long rehearsal or performance. If wrist is too free, it’s difficult to show a clear ictus, and it will be a challenge for your ensemble to follow you.

About the author

name: Amy Kotsonis

institution: University of New Hampshire

Amy Kotsonis is the Director of Choral Activities at the University of New Hampshire, where she conducts Chamber Singers, Concert Choir, Treble Choir and teaches choral methods. She also serves as conductor and instructor at the Summer Youth Music School. Prior to her appointment at UNH, Dr. Kotsonis was Associate Professor of Choral Ensembles and Music Education at the University of Northern Iowa, where she conducted UNI Singers and Cecilians, and taught music education courses. Her choirs have toured internationally to Ireland, Germany and Greece. An active clinician, she has worked with colleges, high schools, and middle schools as well as conducted honor choirs throughout the United States. Dr. Kotsonis has presented at regionally, nationally and internationally including the Phenomenon of Singing International Symposium, the American Choral Directors Association National Conference, and various state music education conferences, and her research is published in the International Journal of Music Education. Dr. Kotsonis is committed to the advancement of diversity, equity, and inclusion in education as well as the greater community, bringing in experienced speakers to work with UNH students, programming a variety of music and composers with her choirs, and presenting at conferences on representation in the music classroom. In 2022 she was awarded the Iowa Choral Directors Association Honors Initiative Award for Collegiate Directing.

Dr. Kotsonis has served as the Artistic Director for the Metropolitan Chorale and UNI Children’s Choir in the Cedar Valley, as well as Conductor of Soho Voce and Assistant Conductor for the Soharmoniums in New York City. Previously, she was Assistant Conductor, Director of Workshops, and Satellite School Teacher for the Young People’s Chorus of New York City, and taught in public schools in New York City and Boston,

Dr. Kotsonis completed a Doctor of Philosophy in Music Education and Choral Conducting at The Florida State University, a Master of Arts in Choral Conducting and Music History at the University of New Hampshire, and a Bachelor of Science in Music Education at New York University.