Phrasing

Phrasing gives shape to musical expression, much like rhyme gives structure to poetry. It allows music to flow naturally, combining expression with clarity, balance, and a sense of unity.

It is closely related to what may be called the architectonic ear—the ability to perceive and understand musical structure, relationships, and hierarchy, both in listening and in playing.

Phrasing is conveyed in playing through intonation and arm weight.

Simply mapping the structure of musical sections in the mind is not sufficient to experience phrasing or to connect it to the instrument.

One may think of musical structure as an outline, while intonation and arm weight provide the depth, colour, and intensity within that outline.

Without this connection, energy may build internally without being transmitted into sound, which can lead to unnecessary tension in both mind and body.

Hairpins in a musical score do not always indicate a change in dynamics, unless they are accompanied by markings such as crescendo, diminuendo, or explicit dynamic indications.

When no dynamic change is specified, hairpins may function as agogic notation.

Agogic refers to subtle expressive shaping of timing—often described as rubato. This involves small, temporary adjustments in tempo.

An opening hairpin may suggest a slight expansion of time and energy, while a closing hairpin may imply a gentle forward movement.

Because changes in timing can also influence the perception of sound, hairpins in this context may reflect both agogic shaping and subtle variations in sonority.

It is important to note that there is no single, universal interpretation of hairpins. Their meaning can vary depending on the composer and historical context.

If hairpins are not supported by clear dynamic markings in the score, they can be disregarded. Instead, shape your own phrasing rather than relying on markings that may be inconsistent or arbitrary.

Slurs can also be open to interpretation, as their meaning varies across different periods and composers.

When structuring your own phrasing, do not rely on slurs as a primary guide. As with hairpins, they do not provide a sufficiently consistent or structured basis for building complete phrasing.

Interestingly, when you create your own phrasing you will notice that, most of the time, slurs and hairpins are in synchronicity with the resulting musical shape.

When the more prominent points within a phrase are identified, they indicate where additional energy and arm weight should be applied.

The process can be understood as follows:

• the structure reveals where energy is needed;
• energy is realised through increased arm weight;
• arm weight is expressed through intonation.

This method also supports a more natural musical flow. The ability to distribute weight gradually helps avoid a common issue: assigning excessive energy to too many elements at once.

For example: speak – ing – like – this.

It is important to note that the application of energy and weight through intonation may be independent of sound imagination and dynamics. For example, a segment may be given greater emphasis through a sense of expansion—such as in the diaphragm—while the dynamic level is reduced. This approach was often used by pianists in the early twentieth century to shape expressive melodic lines.

With the use of arm weight, phrasing becomes a balanced cycle of inhaling and exhaling.

In the mind, energy builds as the phrase develops; in the body, it is released through arm weight, allowing a natural sense of relaxation.

Without the use of arm weight, phrasing tends to resemble a continuous inhalation.

As the music approaches more prominent points, energy builds both mentally and physically, without a corresponding release.

The natural ebb and flow of energy in the mind and body creates a corresponding sensation of inhaling and exhaling within the hand muscles. This supports a balanced and flexible level of tension in playing.

As noted earlier, unhealthy tension in the hands often arises when this balance is lost—when the energy remains in a constant state of either accumulation or release. In both cases, the hand muscles become restricted, lacking the freedom of natural breathing.

In this context, breathing does not refer to physical respiration, but to the natural ebb and flow of energy within the mind and body.

Without a clear and consistent structure in phrasing, the hierarchy of musical elements becomes unclear. This can create uncertainty in the mind, which in turn keeps the body in a constant state of elevated energy.

Well-structured phrasing provides clarity about where to apply greater intention and energy, and where to release it. This supports a natural cycle of engagement and relaxation in both mind and body.

• Apply more energy to the main motifs and phrases.
• Return to a lower level of energy, fully exhaling after the main parts.

Before phrasing can be fully felt, it must first be clearly seen.

In the following parts of this lesson, you will explore the specific qualities of energy involved in phrasing, and how to express them through singing and playing.

This section focuses on understanding a clear and simple structure of phrasing—its length and the shape of each element. This structure is universal and can be applied across different pieces.

• A motif (1 measure), centred on a main interval.
• A phrase (2 measures), centred on a main motif.
• A sentence (4 measures), centred on a main phrase.

• A motif (1 measure), centred on a main interval.
• A phrase (3 measures), centred on a main motif.
• A sentence (6 measures), centred on a main phrase.

• A motif (1 measure), centred on a main interval.
• A phrase (2 measures), centred on a main motif.
• A sentence (6 measures), centred on a main phrase.

• A motif (1 measure), centred on a main interval.
• A phrase (3 measures), centred on a main motif.
• A sentence (9 measures), centred on a main phrase.

Mark each motif with a short slur, extending one measure across the bar line, following a consistent pattern.

Begin from the second note of the measure (not the beat) and continue to the first note of the following bar. This creates a pattern of 2–3–4–1, 2–3–4–1, which tends to feel more connected, continuous, and forward-moving.

By contrast, patterns such as 3-4-1-2, 3-4-1-2 or 4-1-2-3, 4-1-2-3 may result in a more segmented or less fluid sense of motion.

A motif can begin in several ways, yet its one-measure span across the bar line stays consistent:

Structuring motifs by the number of measures, rather than adapting to constantly changing musical patterns, may initially seem unusual. However, maintaining a consistent structural rhythm is essential for building later clear phrases and sentences.

Eventually, when playing the complete phrasing, you will notice how musical it becomes and how consistent your inner breathing feels. This creates momentum in your playing.

By contrast, if phrasing is built by following constantly changing musical patterns, the underlying structure—at the level of the motif—becomes unclear. As each motif differs in length and rhythm, it becomes difficult to develop them into clear phrases and sentences, and the overall phrasing loses clarity.

Structuring by measures applies specifically to motifs; when progressing to phrases or sentences you will choose their length according to musical pattern.

Mark each phrase with a long slur.

A phrase typically consists of 2–3 motifs (2–3 measures), depending on the melodic pattern.

Align each new phrase with the start of a new musical idea. Avoid beginning a phrase too early—within the same melodic pattern—or too late—after the new pattern has already begun.

Mark each sentence with a vertical line.

A sentence typically consists of 2–3 phrases (4–9 measures), depending on the melodic pattern.

Align each new sentence with the beginning of a new musical idea. Avoid starting a sentence too early—within the same idea—or too late—after the new idea has already begun.

Ensure that each sentence contains 2 or 3 phrases, rather than 1 or 4.

Mark the main interval of the motif with a bolder slur. The main interval is the final interval across the bar line.

Shape each motif toward this point, even if a hairpin suggests emphasis earlier within the measure.

Mark the main motif of the phrase with a bolder slur.

The main motif is typically the one that carries greater expressive weight—through dynamics (often louder), articulation (such as tenuto or accent), harmony (more intense or diminished), or melodic direction (ascending or placed in a higher register).

Be aware that melodic direction alone is not always decisive; an ascending line may still feel lighter if the harmonic colour is more open and the dynamics are softer.

So always confirm your choice by singing or playing the phrase at a faster tempo and observe which motif naturally stands out.

If still in doubt, compare the harmonies of the final notes in the main intervals of each motif within the phrase…

And choose the motif with more expressive harmony in the main interval:

Mark the main phrase of the sentence with a bolder slur.

The main phrase is typically the one with greater expressive presence—through dynamics, articulation, harmony, or melodic direction (ascending or in a higher register).

To confirm your choice, sing or play the sentence at a faster tempo and observe which phrase naturally stands out.

If still in doubt, compare the harmonies of the final notes in the main intervals of the main motifs in the sentence…

And choose the phrase with more expressive harmony in the main interval of the main motif:

It’s a great reminder to consistently apply the same approach to phrasing length and contour.

After each phrasing unit—whether a motif, phrase, or sentence—there should be a sense of energetic exhalation, similar to how we perceive sound dissipating when we listen. This naturally creates the need for a comma, rest, or pause.

The main slur—whether it’s the main interval within a motif, motif in a phrase, or phrase in a sentence—will always feel like a buildup of energy, an inhalation.

As a result, if a phrase or sentence begins with a red slur following a green one, it will feel more like an exhalation, whereas the reverse will create a sensation of inhalation.

Answer the following questions using the examples provided:

• Why is the motif marked with a red slur chosen as the more prominent one within each phrase?
• Why is the phrase marked with a red slur chosen as the more prominent one within each sentence?

Understand the choice of phrasing in the following videos:

Mark the phrasing in the scores of the following pieces:

• Mark motifs, phrases, and sentences.
• Mark the more prominent intervals within motifs, motifs within phrases, and phrases within sentences.

Listen to the piece with attention to your phrasing choices in the score, and use this to confirm and refine your interpretation.

While it is generally advisable to avoid listening to other interpretations before forming your own musical understanding, in this case it may be helpful to explore recordings. If your attention remains focused specifically on phrasing, this listening will not interfere with your own sense of expression. By limiting your focus in this way, you can observe phrasing choices while maintaining clarity and independence in your own musical approach.

In the previous lesson, we studied the structure of phrasing and its units. In this lesson, the focus shifts to sensing and experiencing that phrasing.

There are two types of energy to be felt in phrasing:

• A fluid, lighter energy, reaching forward from a distance ("not here, moving ahead").
• A more static, heavier energy, felt closer and more immediate ("right here").

As mentioned earlier, one of the main challenges for pianists is learning how to play the less important parts—"not here, not here."

When this skill is not developed, there is a tendency to give too much energy to too many elements, often seeking even greater intensity. This can lead to the accumulation of unnecessary tension in both mind and body.

Expressive and important moments can only emerge clearly when contrasted with lighter, less prominent material.

For this reason, phrasing practice may involve exploring a new approach—learning how to play with a lighter, less important and less emphasised energy.

It can be helpful to begin with a simple speech exercise. Say out loud two short phrases that represent the contrasting energies you will later express in singing and playing.

The first is "not here, not here", reflecting the less prominent parts of phrasing—such as less prominent intervals within a motif, motifs within a phrase, or phrases within a sentence.

The second is "right here, right here", reflecting the more prominent points—such as the main interval within a motif, the main motif within a phrase, or the central phrase within a sentence.

Say these phrases out loud, and connect to the energy behind them. The clearer the contrast you establish between these two energies, the more expressive and defined your phrasing will become in playing.

It is important to recognise that the clear contrast between these two energies is primarily a tool for practice. As this becomes more familiar, phrasing begins to flow more seamlessly, naturally gravitating toward points of prominence—such as the main intervals within motifs, the primary motif within phrases, or the central phrase within a sentence.

While the contrast becomes less pronounced in performance, it remains present in a subtle way, reflected in inner sensation and vocal awareness.

Remember that singing motifs, phrases, and sentences with musical speech in your intonation helps you feel and convey phrasing more expressively.

If, however, musical speech begins to limit your ability to express clear contrasts in phrasing, set it aside temporarily. Focus instead on intonation alone, allowing you to fully experience the energetic flow of crescendo and diminuendo, and to maximise their contrast and effect.

Therefore, your practice routine may be divided into two parts: first, working without musical speech, and then reintroducing it in the second stage.

When a slight slowing is needed—such as in sevenths and octaves—use elbow motion together with a double swing in the wrist. When no slowing is required, combine elbow motion with a more flattened 2D wrist motion. As you slow down toward the main point of the phrasing, allow the amplitude of the hand motion to increase, while keeping the fingertips in contact with the surface of the keys. This helps maintain freedom in the hand; otherwise, a sense of restriction in your hand may be reflected in the tension of your inner singing.