The Short

phrase divisions very clear, it was to be preferred to continuous beaming in doubtful cases. He observed:
If, as in the third and fourth examples [Ex. 4.3], the phrase division falls between quavers or semiquavers, which in
notational practice are customarily beamed together, some composers are in the habit of separating those which
belong to the preceding phrase from those with which the new one begins by the way they write them, in order to
indicate the phrase division all the more clearly, namely therefore: [Ex. 4.4]
Ex. 4.3. Sulzer, Allgemeine Theorie, art. ‘Vortrag’
Ex. 4.4. Sulzer, Allgemeine Theorie, art. ‘Vortrag’
(This continued to be used by some composers, for instance Schumann, throughout the nineteenth century; see Ex.
4.5.)
Ex. 4.5. Schumann, Second Symphony op. 61/ii
ARTICULATION AND PHRASING 143
However, observing that this type of notation could not be used with crotchets and minims, Schulz remarked that in
such cases one could ‘use the little stroke I over the last note of the phrase, as some now and again do’. The use of a
staccato stroke for this purpose is by no means unusual in music of the period, but, as Türk was to point out, this
employment of the stroke to indicate a shortened and lightened final note could easily be mistaken by less experienced
players for the more common type of staccato mark, which might imply accent.
Schulz concluded his examination of this subject with some general observations on the importance of correctly
articulating phrase divisions, in which