Análisis para directores: de la partitura a los gestos

In this article the whys, the hows, and the whens of the analysis applied to orchestral and choral conducting are described. To further deepen into didactics of the analysis applied to conducting, I present firstly the pairing of technique-performance from the conductor’s point of view, with special mention to the analysis-gesture relationship. Secondly, three types of gestural functions related to three different models of analysis are described: to) descriptive function and catalyst of the indications of the musical text; (b) preventive function - anticipation of the changes-; and (c) interpretive function. Thirdly, different analytical methods that can provide the information needed to conduct a piece competently, including textual analy- sis, process analysis, aural analysis with its multiple layers, and psycho-perceptive and phenomenological analysis, among others, are described. All these analytical methods can be related in the process of understanding music and both technique (gestures) and interpretation are based on their results. In order to illustrate the complexity of the task, an approach to the analysis of the score and its sequencing process is provided, together with a list of complementary analytical tools especially useful for conductors. Finally, a methodological model is given as a guidance to tackle the analysis of the score from the conductor’s perspective, at different stages of its activity (study, rehearsals and performance)