The question of whether a conductor should or should not stand on a podium is a concern for many teachers who conduct school groups, and conductors of community groups.

Some conductors, when asked about using a podium say

• “I am tall enough”
• “I feel really strange standing so high”
• “If we had one, I have no where to store it because we rehearse in the library”
• “We can’t afford to buy them”.

To determine whether a podium must be used, consider the answers to the following questions.

1. How many rows deep of seated players are in your group, and are any of the back rows sitting on platforms to raise their head higher?
2. Can the back row players see the conductor’s beat point easily? The beat point is the lowest point of the standard conducting beat pattern and the point where the instruments sound.
3. Does the conductor suffer headaches, stiff neck and sore shoulders after the rehearsal and the day after also?
4. Is the conductor overly demonstrative in most gestures because the group is not responsive enough?
5. How high should a conductor’s podium be? What are the recommended dimensions?

The number of rows in the group illustrates the difficulty of giving players vision of the conductor’s whole gesture, not just the top part of the conductor’s gestures. Whilst teaching players to sit between the heads in the row in front, a busy head of hair creates havoc with sight-lines. Ideally the bottom of the conductor’s gesture, the beat points needs to be visible above the line of players heads. The level of the conducting beat point is about the height of the waist belt. The performer’s sight line is the open door to communication and responding to their leader.

The health of the conductor is the primary reason for using a conductor’s podium. Overuse injury can not only be debilitating, it will harm any expression that comes from the music. Instead the movements will express the conductor’s body pain!

When conducting without a podium, the level stays at shoulder level. The conductor’s effort has no head room and no space up there. The continuous effort results in very tired neck and shoulder muscles. This leads to head aches and loss of sleep. This is not a sustainable outcome. A podium will allow the body to work more naturally.

WHAT SORT OF PODIUM?

I RECOMMEND THE FOLLOWING

1. Area: 1 metre by 1 metre big enough to allow the conductor to move freely without falling off.
2. Height: recommend 12 inches if there are three rows of performers or more who have to see the conductor.
3. Carpeted top so the conductors shoes do not get amplified by the hollow box below the feet, but should be not be unsteady for wearers with stiletto heels.
4. Legs with some screw adjustment that will stop the dreaded podium wobble because of uneven floors. Adjusters on only two legs is sufficient.
5. A set of wheels fitted to the side facing the performers so it is hidden from the audience. These wheels are to allow the podium to be moved without lifting. They should not rattle during the concert.
6. A back rail to stop the conductor falling backwards and off the stage. an essential occupational health and safety strategy.
7. Grey is neutral and blends with performer’s dress codes and timber finishes of the concert stage. Satin finish, not matt, not gloss.

HOME MADE BY A CABINET MAKER

Finding a parent, friend who as carpentry skills can make one from timber. Plenty of designs are on the internet. Making the top removable will make it easier to carry.

COMMERCIAL CONDUCTOR’S PODIUM

Wenger sells a Conductor’s System but you can purchase just the podium. Wenger’s podium comes in two heavy steel frames platforms one is 6 inches high and sits on top of the other, also 6 inches high. The two lock together. The top platform as a back rail that folds flat. A very neat system. I use the Wenger twin platforms.

Wenger Double Conductor Podium click here for more information.