The Small And Large Phrases


If a cadence is inserted before it is

properly due, it is almost certain to occur exactly half-way along the

line toward the expected (regular) cadence,--that is, in the second

measure. This is likely to be the case only when the tempo is so slow,

or the measures of so large a denomination, that two of them are

practically equal to four ordinary measures. By way of distinction,

such a two-measure phrase is called a S
all phrase. For example:--





There is no reasonable doubt of the semicadence in the second measure,

because enough pulses have been heard, up to that point, to represent the

sum of an ordinary phrase. If this were written in 6-8 measure (as it

might be), it would contain four measures. See, also, Song No. 22 of

Mendelssohn,--9-8 measure, adagio tempo; the phrases are Small; note

particularly the last two measures. The same is true in No. 17. About

Schumann, op. 68, No. 43 (Sylvesterlied), there may be some doubt; but

the measures, though of common denomination, contain so many tones, in

moderate tempo, that the effect of a cadence is fairly complete in the

second measure.



If, on the other hand, one of the regular cadences is omitted,--owing to

the rapidity of the tempo, or a small denomination of measure,--the

phrase will attain just double the ordinary length; that is, eight

measures. An eight-measure phrase is called a Large phrase. For

illustration:--



There is not the slightest evidence of repose or interruption in the

fourth measure, nor of a new beginning in the fifth, wherefore the

cadence is not expected until four more measures have passed by. The

inferior points of repose in the upper parts, at the beginning of the

5th, 6th and 7th measures, serve only to establish melodic, or rather

rhythmic, variety, and have no cadential force whatever. See

Mendelssohn, Song No. 8; the first cadence appears to stand in the

eighth measure; the tempo is rapid and the measures are small; it is

obviously a large phrase. The phrase which follows is regular, however;

there is a cadence in the twelfth measure, thus proving that Large

phrases may appear in company with regular phrases, in the same

composition. In other words, the omission of an expected cadence (or the

insertion of an additional one) may be an occasional occurrence,--not

necessarily constant. See, again, No. 22 of the Songs Without Words; the

first and second phrases are small; the third phrase, however (reaching

from measure 6 to 9 without cadential interruption), is of regular

dimensions.



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