The Normal Phrase
1. The normal musical phrase contains both a definite ending and an
apex or turning point. This turning point is where the phrase goes
to or builds toward. It could also to said that the apex gives
meaning or purpose to the phrase.
2. The two most important performance aspects of a normal phrase are
defining the apex and the ending. The performance details of these two
basic elements of the normal phrase are essential.
3. Phrasing is not the same as dynamics. The tapering of the sound
level at the end of a phrase is not the same as a diminuendo, for example.
A diminuendo is usually performed over a longer time span, often as many
as one or two measures. The tapering of sound at the end of a phrase (also
called an inflection) is performed over the last one or two beats of the
phrase, and may be performed in any dynamic level.
4. Phrasing is also known as note-grouping.
5. Always think of slurs as phrase markings, even a slur over only
two notes. Long slurs are phrase markings, not just an indication to slur
all the pitches under the slur. So to slur notes together is to group them
into a phrase.
Defining the Apex of a Phrase
1. The apex of the phrase can be one or more of the following:
a. The highest pitch of the phrase
b. The lowest pitch of the phrase
c. The pitch with the longest duration of the phrase
d. A pitch that is dissonant (alien to key center)
e. An appoggiatura
f. A pitch that is ornamented
2. The phrase should build to the apex or turning point, then decrease
in intensity.
3. In many phrases, simply following the line will make the phrase
structure evident. To do this, crescendo as the line ascends in pitch level,
then diminuendo when the line descends.
Defining the End of a Phrase
1. Defining the end of a phrase is important on the most basic level
because it tells you where to take a breath.
2. Define the end of the phrase by inflecting the last portion of the
last pitch of the phrase. Inflecting is when the dynamic level is lowered.
Inflecting is also known as “phrasing off”.
3. Phrasing is a question of relationships, one pitch louder or softer
than the next.
4. Never bump the end of a normal phrase. [See #5 below] Do not accent
the end of a phrase that ends with a feminine ending. A feminine ending
is where the phrase ends on a weak beat of the measure, such as on beats
two or four in common time. Be especially careful before a breath is taken.
5. Some phrases are more technical in nature and usually contain fast
scales, arpeggios, or other patterns. In these technical phrases it is
many times acceptable to accent or emphasize the last note of the phrase.
6. At the end of a phrase, do not get too soft too soon since the last
note needs to be inflected. If this happens the ratio will not be correct
between the second to last and the last pitch. I call this the “Appoggiatura
Trap.”
7. Do not clip the end of a normal phrase, of course, unless the last
note is notated short, or it is stylistically short.
8. End the phrase with intensity. Do not confuse this statement with
the ideas about inflection. This means keep the support and vibrato going
up to the point of inflection.
Technical Phrases
1. As stated above, technical phrases contain fast scales, chords,
or other technical patterns. They are performed differently than normal
phrases.
2. Technical phrases many times need stress on the last note of the
phrase. This is especially true if the phrase ends on a strong beat, and
is followed by a phrase in the accompaniment that begins on that same strong
beat.
3. Technical phrases frequently move toward, but do not have to have,
a turning point. In technical phrases, the apex may be a group of fast
notes or a particular arpeggio. This is different from a normal phrase
in that the apex is usually one pitch as opposed to a group of pitches
in the technical phrase.
Shape of Notes
1. An important element of style is the way in which a particular note’s
volume is maintained or tapered as the note is played.
2. Many times a note is not played with a constant dynamic level, but
“shaped’ or tapered at or near the end.
3. There is a difference between length and shape of notes.
Stressing
1.Stressing is when a note is given emphasis by playing the note louder
than the surrounding notes. It can also be an accent, but not necessary.
2. Stress the last note of a group of repeated pitches that continues.
3. Stress the last group of any pattern, or the last group before the
pattern changes.
4. Stress an accidental foreign to the present tonality of a phrase.
Remember, the present tonality of the phrase can be, and many times will
be, different from the key signature of the piece.
5. The first beat of the measure in 3/4 time is usually stressed. This
is especially true if the tempo given is fast.
6. Stress the dissonant pitch of an appoggiatura.
7. In some types of music, metric accents should be stressed more than
usual. (For example: marches.)
8. Because of metric accents, beat 1 should be louder than pick-up
note(s).
General Rules
1. When a rest occurs on the downbeat with notes following on the subdivision
( for example, a sixteenth rest followed by three sixteenths) these notes
need to lead to the principle note on the next down beat.
2. Don’t be late playing the note after a slur to the down beat.
3. When in doubt drag. Do not rush passages or notes within passages.
4. When in doubt, hold notes their full duration.
5. The staccato dot shortens a pitch by 1/3. This dot does not mean
to play the note as short as possible.
6. Long notes must have movement. This is another way of saying one
must do something with the long notes, such as crescendo or changing the
tempo of the vibrato.
7. Two or more repeated notes of the same pitch are usually “Traveling
Music”. These repeated notes lead to the important note of the phrase.
The crescendo that usually accompanies these repeated notes also help to
point to the important note of the phrase.
8. Make notes sound their function.
9. Notes that are beamed together are not necessary in the same phrase:
often, the first note is the end of a phrase and the second note is the
beginning of a new phrase.
Large Melodic Leaps
1. A large leap (disjunct motion) in most phrases should be given special
musical consideration.
2. The bottom note of the wide leap should be stressed and held out
slightly longer. A common problem is to play the second note of the interval
too loud, making this note stand out too much. This is why the first note
of the interval should be stressed.
Appoggiatura
1. An appoggiatura is a dissonant pitch on a strong beat of the measure.
It usually occurs on the downbeat. It does not necessarily have to be written
as an ornament. Many melodies contain written-out appoggiaturas.
2. Stress the dissonant pitch.
3. Play the resolution, or next consonant pitch, softer than the dissonant
pitch.
4. Appoggiatura are found in all styles of music, but especially in
the music of the Baroque and Classical periods. They are very common in
the music of Mozart.
5. If the appoggiatura is trilled, the resolution is still softer than
the dissonant pitch.
See examples on page 28.
Step Progressions
1. Step progressions are short phrases or a group of notes that are
repeated at a different pitch level. These are a type of sequence.
2. Each group of notes is played louder than the previous group.
3. Step progressions are common in Baroque music (1600-1750).
4. Step progressions and sequences are traveling music: the music is
going somewhere.
Ornaments
1. Ornaments or embellishments are put on certain notes usually to:
1) give emphases to a certain note
2) to help add direction to the line
2. Ornaments are usually placed on important notes of a phrase. These
notes should be given special emphasis.
3. Ornaments, trills, turns, etc., do not change the style of the phrase.
For example, if a resolution of an appoggiatura is trilled, perform it
as a resolution and inflect that note.
4. An ornament does not change the rhythm of any notes of the phrase.
For example, many students do not give notes or phrases with ornaments
the proper amount of beats.
5. A good way to practice performing a phrase stylistically correct
with ornaments, is to perform the phrase without the ornaments first.
6. The beginning of a group of grace notes is tongued.
Similarity vs. Contrast
1. Together with style, similarity and contrast are some of the most
important aspects of the performance of music.
2. The return of any important material should be emphasized. This
can be done by a dynamic shift or a slight slowing down before the return.
3. Any contrast within a piece should also be emphasized. For example,
an staccato passage after a legato passage.
Bibliography
Kohut, Daniel. Instrumental Music Pedagogy. Englewood Cliffs, New Jersey:
Prentice-Hall, Inc. 1973.
Thurmond, James. Note Grouping. Camp Hill, PA: JMT Publications, 1983.
Krell, John. Kinkidiana. Culver, CA: Trio Associates.
Farkas, Phillip. The Art of Musicianship. Bloomington, IN: Musical
Publications.
Weissberg, Arthur. The Art of Wind Playing. New York: Schirmer Books.