The essence of phrasing is that breath creates structure.

For the most part, play one phrase in one breath. Occasionally it is necessary to play two phrases in one breath, but pay careful attention that the music truly sounds in two phrases. Sometimes it is necessary to play one phrase in two breaths.

Learn to create the illusion that no breath has been taken at all.

Learn to breathe out at the end of some phrases, before breathing in for the next phrase, in order to fling the last note of the first phrase outward or upward. The effect of playing two notes at the same time or of sliding one note under another can be
created in this manner.

Learn the value and necessity of taking a several breaths after climactic cadences to insure the proper physical and musical release of tension. Learn to start or stop
phrases with the breath alone.

Learn to take a final note to "niento" with the breath.

Learn to create accents within a phrase or under a slur with the breath.

Learn to create many different articulative beginnings and endings of notes by the artful
combination of air speed, tongue placement and speed, lip pressure, finger action and dynamics.

Learn to create rests in long phrases or in crescendos or diminuendos by keeping the air
flow steady, but interrupting the sound with the tongue--not by stopping the air itself.

At times it will happen that you have taken in too much air. This is often the case in movements where you must play phrase after phrase without having more than a quarter-or half-note rest between each statement. If you are not very careful you
will take in too much air for each phrase--especially short phrases--and will be caught in a painful situation where it seems as if your lungs will burst. Do not panic. Learn to blow out air at the ends of certain phrases rather than taking air in.

Learn to take shallow breaths where appropriate.

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