July 1997: On Phrasing

There is a mark we use in music called a "SLUR" which is a curved line placed above or below a group of notes. If the slur groups two notes that are of the same pitch, it is called a "TIE" even though the notes may differ in time value. However, if the slur groups two or more notes of varying pitches, it creates a "PHRASE" which constitutes a musical idea, much as a sentence forms a spoken idea. Phrases are one of the things that help create the style of a piece and make the difference between music that speaks to us, and music that is just a parade of sounds with no relationship other than perhaps the rhythmic structure.

To execute a phrase properly play the notes within it in a legato manner, i.e. connect in groups, cross, place ahead, etc. wherever possible. At the end of the phrase lift off which creates a sense of separation or breathing between ideas. Most of the time there is a gentle pressure at the beginning of the phrase, and relaxation of sound at the end. Phrases can be thought of as lines that have shape. If the series of notes within it moves up then down, imagine a line on canvas that moves similarly and try to execute the music as if you were following that line.

Some phrases are very short, others much longer but that is no different than the way we speak. Try talking to yourself and paying attention to the way you group your words. Now talk again and make believe you are a robot who speaks with no vocal inflections at all (as in the "pre-Hal" era). The way we group our spoken ideas is related to cultural styles, to content of the speech, to emotional intent, etc. In other words it gives character to our communications. In the same way phrases, dynamics, etc. give character to our music.

Sometimes phrases are written in printed music --- but sometimes they are not! Does that mean they don't exist in that piece? Absolutely not! And what if we are learning a piece by ear. Can we do phrases? Yes we can! Phrases are inherent in the music and a good player can learn to hear and create them without slur marks. But a lot of this depends on the period of time the music was written, the style of it, etc. For instance, in celtic dance forms, one of the things that give them their identitiy are the many short phrases that, taken in sequence, give them a lilting character. On the other hand airs or ballads are best expressed through longer, more fluid lines of music. Words that accompany music are a handy means of sensing phrases. The more complicated the music, the more necessary it is that the composer give you an indication of his/her intent which is why printed phrasing became more common from the Romantic period to the present.

So---when you take up a piece of music, try to think of it as more than a set of notes and a technical feat to be executed accurately within a specific time frame. Music is a form of communication and no one wants to listen to a robot.

See you next month.

Stephanie

Music/Supplies || Sounds || Bio || Links || Home || Contact

Site designed by Duncan Watt for Kanuba. E-mail to: kanuba@comcast.net