3
and 24 and by making certain that the principle of "continuous
movement" explained on page 28 is observed, the student will be able
to learn the more highly elaborated beats employed in slower tempos
without very much difficulty. These diagrams, like the first set, are,
of course, intended to be suggestive only.

[Sidenote: SHALL WE BEAT THE RHYTHM OR THE PULSE?]

In this same connection, the amateur may perhaps raise the question as
to whether it is wise to beat the rhythm or the pulse in such a
measure as [music notation]. In other words, is it well to give a
down-beat on 1, two small beats toward the left for 2, while 3 and 4
are treated in the ordinary way? This question may be answered by
referring to the rule given on page 25, but perhaps it will be safer
to make the application more specific by advising the young conductor
to adhere fairly closely to beating the pulse unless a much slower
tempo makes extra beats necessary. The additional movements may be of
some service in certain cases, but in general they tend to confuse
rather than to clarify, this being especially true in the case of
syncopated rhythms. The only exceptions to this principle are:

1. When a phrase begins with a tone that is on a fractional
part of the beat; _e.g._, if the preceding phrase ends with
an eighth, thus: [music notation]; for in this case the
phrasing cannot be indicated clearly without dividing the
beat.

2. When there is a _ritardando_ and it becomes necessary to
give a larger number of beats in order to show just how much
slower the tempo is to be. The second point is of course
covered by the general rule already referred to.

The conductor must train himself to change instantly from two beats in
the measure to four or six; from one to three, _et cetera_, so that he
may be able at any time to suit the number of beats to the character
of the music at that particular point. This is particularly necessary
in places where a _ritardando_ makes it desirable from the standpoint
of the performers to have a larger number of beats.

[Sidenote: THE DOTTED-QUARTER AS A BEAT NOTE]

Although covered in general by the preceding discussion, it may
perhaps be well to state specifically that the compound measures 6-8,
9-8, and 12-8 are ordinarily taken as duple, triple, and quadruple
measures, respectively. In other words, the dotted-quarter-note
([dotted quarter-note symbol]) is thought of a