av. Rules for Interpretation. which must be rendered in this way: no Breath breath aetna ce & 16 ieson, the clase ofa whole periad is marta either bya fll ber, of by 2 dbouie bar a th ead ofthe pecs, or at the end of an important vision of the piace, Here traath must betaken and a longer pause be ade,” In he modern ation this pase is indicted by a quaver fox which placed fore of Aer the bar line, fn accordance with te ehythm ofthe phrase fallowing. In, piezes normally sung by alterating coir (as in the Kyrie, Gloria, (Creda ty, te double bar indicates 2 change Cholr, Tn sich ease the pase ‘wil vary donning tits inportance inthe melody and he text. 5, The Comma allows only a rap breath without Brea in the movement, ‘ence daring the vale of the precting no Ge ge 16. Though breath need not necessarily be taken at every baring, yet onthe ‘ther andy in the more elaborate pices (gradual, sii, offeroncay 1 Sometimes ezesnry and indced exelent o Bente hetweea the bars marked in {he book.” Its isposileto give minute rules lor doing this correctly. "All hat eed es hr ta enh te ten ch cs), tat opting the ruthie wovement and rexelaiy, or changing the valde o oes, ) according tothe melo prasing: hence at the eh af small meals {BouTs,c) ata lo note, if pane, in onder to allow mare ine for breathing 7, The end ofthe Intonation and the entry ofthe choir are marked by a star inthe verbal text, A dotted note or horizontal epiema ineats the rhythmic Puncluntion suited teach cases somctins te melons snge adits of no pouss {en all punctuation marks are omitted. VI. — Notes on rhythm, the vertieal episema, rhythmle step or alighting point, Ruythoa in singing is a movement of the voice whervn it successively rises ls. Te ign the. WelLardered succession of such movements that yh ‘Seeniialy consis. ints elementary form the rise or arses the begining ot