And so that, if that's intuitive beat two is not
so intuitive right because we're coming into the centre so
we have to make sure we don't kind of cross
our planes here but we still have a sense of that.
So we have to verticalize it slightly to make sure that we can still
show cross or into beat two so it's a different part of the pattern.
Beat three is more intuitive.
If we have one, two, three, because we can effectively rebound
to the left and then come across our body for beat four.
And then to beat four is pretty intuitive.
One, two, out, in.
Prep from three to be four.
And then prepping beat one is the most intuitive because
we all often want to give a big upbeat from four.
So one, two, three, up.
Then, then down to beat one.
Let's try cueing in a three four pattern and we'll
do the same way as we did in the four, four.
First we'll do it just with our right hand and eye contact.
And then we'll try using our left hand.
Same principles apply here that to make it clear we
want to slightly de-emphasize two beats before the cue happens.
Or one beat before the preparatory rebound.
So here's cueing on beat.
One and three four.
[MUSIC]
Let's try adding our left hand for that.
[MUSIC]
Let's go to beat two, so first just our right hand and eye contact.
[MUSIC]
So, those for that, it's the, it's the, this is the not so
intuitive one because it's something, it's the
beat right after one, right after de-emphasizing
the rebound from beat three, the last beat in the measure to make
sure I don't have a big upbeat, because I don't care about that upbeat.
What I really care about is one, two, small one.
Two, the one is the preparatory beat to the act,
to the action which is the cue on beat two.
Let's try our left hand at that.
[MUSIC]
And now finally is going to be three, first just with our right hand
[MUSIC]
So same issue there, where we going to de-emphasize two beats before that action
happens, with the beginning of the cue, now let's add our left hand to that.
[MUSIC]
At their most basic level, cues just tell when to play.
But really we can use them to do more than that.
To tell how to play.
The style, the dynamic.
And that comes from both the pre-prep part of it where we're just getting.
The attention of what we're cueing and the prep
but really also the ictus and what happens after
the ictus and if we use it effectively it can be more than just, yep, you play now.
It can give a whole lot more expressive information.
So for example let's try this, in the Chester example we did earlier.
And we'll first start on beat one and we'll
use different kinds of cues to different, different styles and
you'll see from all four elements of the cue, pre-prep,
prep, ictus, and rebound from it and that's the stripe.
That's on beat one.
[MUSIC]