text. But even then a warning ought perhaps to be given the young conductor regarding carelessness or ignorance on the part of singers about some of the most fundamental principles of phrasing. The most common mistakes made are:
- Taking breath unnecessarily in the middle of a phrase.
- Breathing between the syllables of a word.
- Dividing a long phrase improperly.
- Running over breathing places where a pause is really necessary in order to bring out the meaning of the text.
- Pronouncing the unaccented syllable of a word at the end of a phrase with too much stress.
- 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
