Phrasing

[1piano4joe]

A phrase mark indicates the 'shape' of the musical line , not that all the notes below it should be slurred. This explains my previous confusion about "slurs over rests".

As a general rule, it is helpful to remember these points when trying to add colour, shape and interest to a phrase:

1. Phrases end with a ‘breath’.
2. The last note of a phrase is the quietest.
3. The peak is often found on the long note of a phrase, or the highest note of a phrase.
4. Never play two notes in a row at the same level.
5. Two-note slurs (“drop slurs”) are always louder then softer.

I have two previous unanswered posts about "slurs" over rests. One was about Kabalevsky Op. 39, No. 19 where a detached eighth note was followed by an 8th note rest. The lone 8th begins the phrase which is the highest note of the phrase, starts on a strong beat and an accent is indicated as well in the score. So, I was mistaken. It is NOT a slur over a rest at all. So how could it possibly be slurred? Answer, it isn't.

Ten years of private year round lessons on clarinet messing me up again. There is no such thing as phrasing on clarinet. A slur is a slur is a slur. Right? Well, not on piano. Phrases are quite common in piano. If a little knowledge is dangerous then just imagine how a lot of irrelevant knowledge from a different instrument can mislead you.

Secondly, "Aeolian Melody" by Joan Hansen has a "slur" over a rest just before the last note of the phrase. Well, another puzzle solved Joseph! It's a phrase mark!

It is interesting how composers use rests to shape the phrase. I like the idea of phrasing just not the notation.

But then, what is phrasing?

A first answer, for any music, is as follows: given individual notes of varying lengths, phrasing is grouping at the next structural level up; phrasing deals with groups of notes, and how they are shown to belong to a group.

I found this information from several different websites and found it most informative. I thought it might be helpful for others, as well as convenient for myself to be all in one place.

I hope I have been helpful, Joe.

[j_menz]

1. Phrases end with a ‘breath’.
2. The last note of a phrase is the quietest.
3. The peak is often found on the long note of a phrase, or the highest note of a phrase.
4. Never play two notes in a row at the same level.
5. Two-note slurs (“drop slurs”) are always louder then softer.

1. Breaths vary, as real ones, in intensity and length, and you should be careful how you choose.

2. Not necessarily, though often.

3. And sometimes on the lowest, and sometimes on a rest.

4. Unless they should be. That they should be is more common with slow notes.

5. Often, but not always. Sometimes the accent is on the second.

Additionally, phrasing is complementary to rhythm, and shouldn't obscure it.

[lostinidlewonder]

I've found that if you sing a passage of music the phrasing is easily discerned.

[1piano4joe]

Hi j_menz,

Thank you for responding. It was great to read about these exceptions to the rules. I had problems with adhering to them and thought I was just doing something wrong. I often play two or more notes at the same volume thus breaking rule #4 but it just sounded better that way to me when I broke the rule.

I have some questions about "breaths". I thought breaths were in essence the silence between phrases. So, I understand how silence can vary in length. But you speak about "intensity" of breaths and I had trouble with this at first. I actually asked myself, "How can silence be more intense"?

I decided it must be the movements of my body or the how of breathing. A singer might take a very long deep breath to be able to sing a long note or phrase or perhaps sing louder. I made up that last sentence. I know absolutely nothing about singing. But the pianist's instrument is not his voice, is it? Therefore, "Breaths" must include the preparation of movements during that silence as to start that next phrase. Is this correct? If so, then would it be correct to say an intense breath would be movements as to start the next phrase ff?

Also, you mentioned a "peak" on a rest. Would that mean that there is no peak? The phrase can just continue after the rest without one.

Or maybe I am wrong about peaks? Until now, I thought a peak occurred on just one note. Seems silly to me now but that's what I thought.

I'm assuming that "peak" is the maximum volume of the phrase. So, if a phrase continued at the same maximum volume after a rest it would have two peaks. Is that right?

Also, if a piece had several notes all at the same maximum volume then the peak could in theory be quite spread out over time. Am I on the right track?

Finally, can't the "peak"  be just like the top of the hill where from the bottom or from a distance a casual observer wouldn't know your not standing at the very top? Essentially notes that are not exactly equal in volume but a series of several notes that are the louder ones in a phrase?

My teacher told me the peak is a single note and must sing out above the others but now I don't think she's right about that. It must be that sometimes it is and sometimes it isn't.

Thanks again for responding, Joe.

[j_menz]

Silence can be loud, soft or in between, depending on it's context. It can be sudden, or eased into. It can be absolute or relative, depending on resonances and pedalling. It can be a beginning, or an end or a crack or a chasm. It can be a finality, or it can be pregnant with expectation. It can be a gasp or a sigh. It can be a desperate intake or an easy puff. It is as much part of the music as any note is, and should be given the same attention.

The peak of a phrase it that point where it is at its most intense. Often that is the loudest point, but not always. A phrase may have any number of (mostly lesser) peaks - it's not just up to the top and back down again. Part of that is dictated by the rhythm, but it may also be dictated by the effect being sought.

In addition, changes in tempo - whether strictly rubato or not - affect the tension. For example a softening and slowing at the end is quite a different effect than a softening and quickening.

And the breath is about the music, not your body. The type of breath should be dictated by the relationship between phrases, not any physical movement you may need to actually make between two positions.

[rmbarbosa]

As all the rules, there are exceptions in phrasing also. The rules you mentioned are quite good with romantic music. But with J.S.Bach, for example, each phrase must be played with the same intensity of the sound, from its beggining to its end. For example, if we have phrase A - phrase B, A must be played for example mf and B for example p. But within A and within B there`s no place to any variation of intensity. You may wish to confirm this in one text of Rosalyn Turek, you may download free.
Best wishes
Rui
(Yes, I do know that many of our fellows in this forum disagree ))

[mikeowski]

text of Rosalyn Turek

Yuck.
Judging from her way of playing Bach, I don't care about a word she writes.