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THE CHOIRMASTER'S MANUAL
27
6/8 (in fast time, which is two dotted quarters to a measure ), only two beats are necessary, thus:

Other special accents, such as fz, ffz, fp must be taken in proportion to the loudness or softness of the passage in which they occur.

Phrasing. As a general rule, breath should never be taken during a phrase. The first note of a phrase takes an accent, and the last note is usually a trifle shorter than written; e.g.,

\relative f'' { \override Score.TimeSignature #'stencil = ##f \partial 4 \autoBeamOff f4\( | b,8 cis16[ dis] e8 f g[ dis e]\) f\( dis4. dis8 e4\) \bar "|" }
\addlyrics { Touch their im -- mor -- tal harps with gold -- en wire.}

Sung:

\relative f'' { \override Score.TimeSignature #'stencil = ##f \partial 4 \autoBeamOff f4\( | b,8 cis16[ dis] e8 f g[ dis e16]\) r\breathe f8\( dis4. dis8 e4\) \bar "|" }
\addlyrics { Touch their im -- mor -- tal harps with gold -- en wire.}


Never allow the breath to be taken before accent in long passages; take it after the strong accent.

\relative e' { \override Score.TimeSignature #'stencil = ##f
  e4^(^\( g8 f e4 a | g) \breathe f8^( g e4 g | e2)\) \breathe d | c1 \bar ".." }


Make either one or two phrases in such a case; to sing as follows would spoil the effect of such a phrase:

\relative e' { \override Score.TimeSignature #'stencil = ##f
  e4^(^\( g8 f e4 a) \breathe | g^( f8 g e4 g)\) \breathe | e2 d | c1 \bar ".." }


The successful choirmaster will keep an eye on all the phrase-marks, which often occur differently in different parts; the observance of the preliminary accents, if not overdone, makes for crisp and bright entries of fugue-subjects and "imitative" passages, examples of which can be seen in most modern services.