Part 8 (1/2)

2. Breathing between the syllables of a word.

3. Dividing a long phrase improperly.

4. Running over breathing places where a pause is really necessary in order to bring out the meaning of the text.

5. p.r.o.nouncing the unaccented syllable of a word at the end of a phrase with too much stress.

6. Failing to stress the climax sufficiently.

Mistakes of this kind are made because the singer all too frequently fails to recognize the fact that the interpretation of vocal music must be based upon the meaning of the text rather than upon purely musical considerations (_cf._ quotation from Caruso on page 44).

A comma or rest ordinarily indicates the end of a phrase in vocal music. If, however, the phrase as marked is too long to be taken in one breath, the conductor should study it carefully for some point in it where another breath may be taken without too greatly marring the continuity of the text. Sometimes in a large chorus various sections of a division may take breath at different points, thus preserving the integrity of the phrase in certain cases where this is particularly desirable. It should be noted that when a breath is taken in the middle of a phrase or between the phrases where no rest occurs, the time for breathing must always be taken from the last note of the _preceding_ phrase, in order that the continuity of the rhythm may not be sacrificed.

The importance of studying phrasing from the standpoint of the effective rendition of sacred music will be realized more vividly if one takes the trouble to inquire of some of the members of the congregation how well they understood the words of the anthem or solo.

The replies that will ordinarily be given to such a question will probably astonish the director of the church choir; and although he will sometimes be inclined to put the blame on the ears and minds of the congregation, there is no doubt that in very many cases the difficulty may be traced to poor enunciation and faulty phrasing on the part of the singers. The following examples are reported to be authentic instances of phrasing by church choirs:

Jesus lives no longer now, Can thy terrors, Death, appall us?

The poet had quite a different thought in mind when he penned these words, with the correct punctuation marks:

Jesus lives! no longer now Can thy terrors, Death, appall us!

The wild winds hushed the angry deep, Sank like a little child to sleep.

What this verse means is, of course, easily seen by inserting the correct punctuation marks:

The wild winds hushed; the angry deep Sank like a little child to sleep.

[Sidenote: PHRASING IN INSTRUMENTAL MUSIC]

In instrumental music we have no definite ideas and no concrete imagery to guide us; and the conductor, in company with all other students of instrumental music, will find it necessary to study his score most carefully if he is to unravel the threads that are woven together in such complex fas.h.i.+on in orchestral music. As implied above, phrasing in instrumental music means:

1. The grouping together of tones that belong to the same musical thought, this implying a slight break in continuity between phrases, as in language.

2. Making evident the musical significance of the group by accenting or prolonging its most important tones.

These are only general principles, however, and the details of phrasing in instrumental music cannot be treated adequately in writing because of their too great complexity. It is only through practice, reinforced by the intelligent criticism of a real musician, that skill and taste in the art of phrasing can be acquired. A few concrete suggestions are offered, and these may be of some slight help to the amateur, but they are not to be thought of as ”a complete guide.”

1. The first tone of the phrase is often stressed slightly in order to mark the beginning of the new idea.

2. The final tone (particularly of the short phrase) is commonly shortened in order to make clear the separation between phrases.

3. The climacteric tone of the phrase is often prolonged slightly as well as accented, in order to make its relations.h.i.+p to the other tones stand out clearly.

[Sidenote: RHYTHM]

Closely connected with phrasing is rhythm, and although the rhythmic factor should perhaps theoretically belong wholly to the composer, since he is able to express his rhythmic ideas in definite notation, yet in actual practice this does not prove to be the case because the amateur player or singer so often finds that ”time is hard”; and there are consequently many occasions when the rhythm indicated by the composer is wholly distorted, either because the performers are weak in their rhythmic feeling or because the conductor is careless and does not see to it that the rhythmic response of his chorus or orchestra is accurate and incisive and yet elastic.

Rhythm is the oldest of the musical elements and there is no question but that the rhythmic appeal is still the strongest of all for the majority of people. Rhythm is the spark of life in music, therefore, woe to the composer who attempts to subst.i.tute ethereal harmonies for virile rhythms as a general principle of musical construction. Mere tones, even though beautiful both in themselves and through effective combination, are meaningless, and it is only through rhythm that they become vitalized. In order to have interesting performances of choral and orchestral music the conductor must see to it that the performers play or sing all rhythmic figures correctly, that long tones are sustained for their correct duration, and that in general the musical performance be permeated by that steady throb of regular pulsation which is the foundation of all rhythmic coherence.