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For the conducting of No. 1 for Orchestra, the followings should be taken into consideration. First, the conductor should be well versed in the basic principles of conducting technique for the western classical music. Second, the musical characteristics should be understood of No. 1 for Orchestra. The conductor should make an analysis of the key, the unit of meter, tempo and the structure of the composition. More importantly, he is supposed to know how many measures constitute a phrase of melody. This helps him to memorize. While the singer has the whole melodies and words to memorize with meticulous care, the conductor can do his job without recourse to the score, only if he knows, in case of the Korean national anthem, for instance, that it has 4/4 meter and four four-measure phrases with 'f' attached to the beginning of the third phrase. In this way, supposedly complicated composition for orchestra can be made far simpler and easier to conduct. Third, the conductor must have the orchestration within his grasp and also examine each part thoroughly so that he can give a cue to the part or solo that starts after a long absence or put a special emphasis on a predominant melody. All this helps performers play with ease. Fourth, since the music is generally in the style of San-jo and Shinawhi, the conductor might as well express such emotions and moods as are expected of them Fifth, if the conductor wants to emphasize the expression of 'f' or 'p', he should extensively attack the instruments whose volume can be easily modulated, such as Piri, Keun-buk, and Jang-gu. In addition to the above mentioned prerequisites for the successful conducting, the conductor is required to pay attention to the following for the effective rehearsal. The conductor should mark down everything he learned from his analytic reading on the score in his own way. Without these markings on the score, he could not have an overall look at the general features of the whole work or each part. He must make an extra score for himself for rehearsal's sake. In advance of the rehearsal, the exercise of conducting should be carried out fully enough to make wha he analyzed adequately expressed in his conducting. His main performance is his first rehearsal, while other players do their main job in the presence of the audience. If there comes the musical problem during the rehearsal with the orchestra, immediate modification should follow, and after the full exercise of one composition is completed, another full exercise, without any particular reason, is not desirable, since it is little effective and much exhausting. The conductor may miss the part that needs modification during the rehearsal, so what I recommend is the recording of the rehearsal, that can be available for reference for the next rehearsal. All these requirements, if fulfilled, will conduce to the effective conducting, which will, in tum, enable other performers to do their utmost, Then we can expect the performance to properly express the original nature of Kim Heejo's No. 1 for Orchestra.