You know, for an item that at the very most only evolved over the last 411 years, and at the least only evolved over the last 187 years, conductors can sure get uppity about their batons.  (The Maestra in an Italian village first used a "wand" to conduct her ladies' choir in 1596 and the German composer/conductor Louis Spohr first used a simple baton to conduct an orchestra playing his compositions in 1820. Prior to that, concertmasters banged a stick on the floor to beat time or conductors rolled up a manuscript and waved it about, or they conducted with a violin bow.  Mozart waved his hand, then sat down at his harsichord to play along with the orchestra.  I ascribe to the oldest date myself, 1594.)  

Now my research and observations show that many "stick waggers" use a real inexpensive baton much of the time, such as a King David $1.95plastic one or a $6 cork ball handle one available in so many places.  And another group, teachers, don't seem to use better pieces for their every day rehearsals, either. 

Then there are the pros, or at least, the ones who act like pros.  (I never have liked to see a professional using a piece of junk for a baton, even for every day use.)  It's all a matter of class to me.  Sure, I have less expensive "work horse" batons, too, such as our Feather Lite Baton, which you simply can't hurt no matter what you do, short of bending the shaft with your foot or tossing it under a rolling semi.  I do, however, LOVE the Selmer Walnut Hanldle 22" baton, both for its stout feel and it length.  It's only about $7.95 plus S&H, so it's a really great deal. In fact, every conductor has the right to do as they wish; there is no task master telling everyone what to do.

In fact, I agree with one professor at Lee University when he said that a conductor's baton is THEIR instrument.  That means to him that you don't allow your charges to "Play" with your instrument.  No more sword fighting or the like with the Teacher's baton!  Yikers!  But frankly, I also like to see a conductor carrying a belt carrier. That way, no one but the conductor ever touches their "instrument". I truly believe in that as much as I refuse to ever pick up another player's violin.  I also never allow anyone to borrow someone's trumpet and start slobbering on it.  Yecch!

But do conductor's baton always have to be "White and Light", you know, a white shaft, perfect balance at the hilt between the handle and the shaft,  and a feel that is lighter than rarified air?  No, I don't think so.  That's why I have a number of different length of shafts, batons made of many various materials, and pieces of varying weights.  For instance, I love to conduct Mahler's or Copeland's powerful pieces with a heavy baton where I can feel the heaviness and I can express it to the orchestra. Requiems love a heavier baton, too, for even a heavier baton can be well balanced wherever you like.  Your batons can be balanced as you like, or not balanced at all.  Much of it is preference and what you get used to.  And altruism set aside, no one really believes that after conducting lengthy compositions for many years, one's arm is suddenly going to get weary because the baton isn't a feather, right?

To me the "sport" of conducting is very individual.  We all, regardless of where we studied and with whom, express our individuality as conductors in many ways.  That being said, why not do the same with the batons you buy?  Why not be a bit different at times?  Look at Gemwoode Speciality Baotns - we have normal batons, and different ones, like our Jade Barrel Baton.  Now you understand better why our pieces are called speciality batons.  Each conductor is special.  ~ DCM

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