The Phrase

It is not altogether easy to give a precise definition of

the phrase. Like so many of the factors which enter into the

composition of this most abstract, ideal, and intangible of the arts,

the phrase demands considerable latitude of treatment, and will not

readily submit to strict limitations or absolute technical conditions.

Perhaps the most correct definition is, that the term phrase is

equivalent to sentence, and r presents the smallest musical section

that expresses a complete idea; not necessarily wholly finished, and

therefore independent of other adjoining phrases, but at least as

complete in itself as is an ordinary brief sentence in grammar, with

its subject, predicate, and object. It should be sufficiently long to

establish the sense of tonality, the consciousness of beginning,

course, and ending, and should exhibit a certain (though limited)

amount of palpable and satisfying melodic and harmonic contents. For

this reason, the Phrase, and nothing smaller, should be regarded as the

structural basis of musical form.



The factors defined in the preceding chapter (the figure and motive)

are, as a rule, decidedly less than is demanded of a complete phrase,

which--as has been intimated--usually consists in the union of two

(possibly more) motives,--just as the motive is compounded of figures,

and the latter of single tones.



In some, comparatively rare, cases the composer gives a phrase an

independent place upon his page, as complete miniature sentence, not

directly connected with other phrases. This may be seen, very plainly,

at the beginning (the first four or five measures) of the Songs Without

Words, Nos. 28, 41, 35, 3, 4, 16. Examine each, carefully, and the

nature of the phrase in its most definite form will become apparent.



Such independent phrases are most likely to be found, like the above,

at the beginning or end of a larger composition, to which they are

related indirectly, as isolated introduction, or postlude. Thus, the

following complete phrase appears at the beginning of a song:





Its division into two melodic motives, and the subdivision of these

into figures, is plainly marked.



When the phrase assumes such a conspicuous position, and is so complete

and definite in its effect as the ones just seen, there is naturally no

difficulty in recognizing and defining its extremities. But the task

of phrase analysis is by no means always thus easy.