We regularly place an intonation break between successive sentences, usually between successive clauses, sometimes between successive phrases, and occasionally between successive words. We can even break within a word — though this is unusual and only used for special emphasis.
…The presence or absence of intonation breaks, and their location, signals to the hearer the syntactic structure of the sentence. Sometimes this structure is potentially ambiguous, and the tonality can disambiguate it. An intonation break signals a syntactic boundary…
[English Intonation, p. 187]
What I did not say was that sometimes we find an equivalent effect without an actual intonation break. A syntactic ambiguity within a single IP can sometimes (optionally) be resolved merely by a slowing down at the relevant point.
(i) There was a lot of bloodshed.
(ii) There was a lot of blood shed.
We can try to make it clear that we mean (ii), ‘a lot of blood was shed’, by slowing down as we say blood shed, as opposed to not slowing down for the compound noun bloodshed in (i).
I saw a nice example of this in the Sunday Times magazine two days ago, illustrating an article about ‘cheeky seaside postcards’ of half a century or more ago.
If we want to be pedantic, the compound-noun reading ought to be spelt screwdriver, solid; the noun plus vocative ought to be spelt with a comma, screw, driver. In speech, the more we slow down the more we push the hearer towards the second interpretation.