The Speed At Which A Piece Of Music Is Played How to Achieve Natural Phrasing in Organ Playing

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How to Achieve Natural Phrasing in Organ Playing

Just as correct phrasing helps to achieve clarity and precision in performance, correct phrasing helps to emphasize important structural points in a piece. It is a subtle expression that can give the organ structure the natural flow and life it so desires. Also, phrasing helps listeners understand the form of the subject. In this article, I will give you tips on how to choose the best phrasing for playing the organ.

Phrases contain specific rhythmic variations that occur in important structural elements of a work. This variation helps to emphasize the areas that make up the compositional form. Regular playing and articulation help achieve a hierarchy of strong and weak beats in a scale, while phrasing is used to create subtle rhythmic asymmetries. In other words, with the help of the phrasing, the organist can create soft ritardandos and accelerandos that are governed by certain elements of the composition. Sometimes phrasing has a lot to do with speaking and breathing in a musical line.

  • Cadences. A cadence is a specific harmonic or melodic curve that helps complete a musical idea. Each time you see the cadence, you can gradually slow it down to make it more distinct. Then slowly resume your normal pace.
  • Vacation. Rest is also important in vocabulary. Often a composer rests where a voice or passage should breathe. This is a technical sign of precise language.
  • Caesura. A caesura is often placed at the end of a phrase to indicate the necessity of breathing. Although the organ can be played without breathing, your musical lines will be clearer if you emphasize and articulate those important parts of the music.
  • Long note. After a long note, the composition tends to take a breather. The same applies to organ music. After a long note, take a short rest to show the contours of the melody.
  • Repetition of rhythmic figures. If you find several rhythmic figures in your organ, you can make a more pronounced expression at the end of each figure. It would be a natural way of making phrases.
  • The beginning and end of the melodic line. Often, it is appropriate to have a gentle rhythmic asymmetry at the beginning and end of a melodic line. Start slowly, speed up a little, and finish slowly. This is especially useful for romantic organ music. Here it is helpful to imagine something similar to driving a car. As with the melodious line shape and performance, the car slows to a stop, accelerates and decelerates.

If you use precise rhythmic phrasing and use rhetoric at important structural points, your performance will become very natural. However, don’t overdo it, especially in baroque music. Although romantic compositions often require these rhythmic changes, early music should be played more rhythmically, emphasizing rhythm, pulse, and alternation of strong and weak beats.

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