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 replies that will ordinarily be given to such a question will
probably astonish the director of the church choir; and although he
will sometimes be inclined to put the blame on the ears and minds of
the congregation, there is no doubt that in very many cases the
difficulty may be traced to poor enunciation and faulty phrasing on
the part of the singers. The following examples are reported to be
authentic instances of phrasing by church choirs:

Jesus lives no longer now,
Can thy terrors, Death, appall us?

The poet had quite a different thought in mind when he penned these
words, with the correct punctuation marks:

Jesus lives! no longer now
Can thy terrors, Death, appall us!

The wild winds hushed the angry deep,
Sank like a little child to sleep.

What this verse means is, of course, easily seen by inserting the
correct punctuation marks:

The wild winds hushed; the angry deep
Sank like a little child to sleep.

[Sidenote: PHRASING IN INSTRUMENTAL MUSIC]

In instrumental music we have no definite ideas and no concrete
imagery to guide us; and the conductor, in company with all other
students of instrumental music, will find it necessary to study his
score most carefully if he is to unravel the threads that are woven
together in such complex fashion in orchestral music. As implied
above, phrasing in instrumental music means:

1. The grouping together of tones that belong to the same
musical thought, this implying a slight break in continuity
between phrases, as in language.

2. Making evident the musical signifi