Saito was a cellist who studied in Germany where he observed the outstanding conductors of that time. He became principal cellist of the new NHK orchestra under founding conductor Joseph Rosenstock. The new orchestra was conducted by famous guest conductors from all over the world. Saito was left wondering why it was easier to follow and make music with some of the conductors and more difficult with others.

Rosenstock had admirable technique and became Saito's conducting teacher. Saito came to understand the ways by which gestures elicit and shape music.

Saito was one of the founders of the Toho Gakuen School of Music where he taught the method. Morihiro Okabe, who was in the first conducting class, became Saito's teaching assistant and helped to create a textbook from Saito's teaching notes. Seiji Ozawa and Kazuyoshi Akiyama were early graduates of the conducting program. The method has been refined by Messrs. Okabe and Akiyama. The original text which was translated into English by Fumihiko Torigai and edited to include Okabe's revisions by Wayne Toews, was published in Tokyo in 1988.

After first studying the method in 1974 in Courtenay, B.C. Wayne Toews traveled to Tokyo in 1983 to study with Morihiro Okabe. Toews used Saito's method in his daily work for more than thirty years and taught it at national and international conventions, in university classes and to private students. He enjoys the reputation as a first rate musician and teacher. He has broad experience with orchestras, choirs, wind ensembles and jazz groups.

Click here to get the details about the International Saito Conducting workshops. The 2006, 2007 and 2008 workshops were outstanding successes. Join others who want to communicate clearly and musically.

Don't miss this special opportunity to develop your skills.

Visit this link to watch Mr. Ozawa discuss his work with Prof. Saito

The animation below demonstrates a fundamental gesture in the Saito method called Shakui (Shah-kwee).

Notice how this swinging motion shows a precise beat point making each beat clear and allowing each to be anticipated with ease. It is an example of an into-point motion. It is made by controlling the acceleration and deceleration of the arm. This gesture can be varied to show different articulations, timbres, subdivisions, and dynamics. In combination with from-point motions it provides conductors with the means to shape musical phrases.

The gesture is clear and precise at the various tempi. Try it by clicking on the words slow, medium or fast under the diagram.

You can explore other animated gestures by clicking the Resources button above.