itions.
Perhaps the most correct definition is, that the term phrase is
equivalent to "sentence," and represents 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:

[Illustration: Example 15. Fragment of Schubert.]

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.

LENGTH OF THE REGULAR PHRASE.--Fortunately for the work of analysis,
there are certain established landmarks of forms, so conscientiously
observed, and so firmly grounded in the practices of classic writing
(because the necessary consequences of natural law), that it is
generally practicable to fix fairly