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 regular and plausible boundaries to the phrase, notwithstanding the freedom and elasticity which characterize the application of the syntactic principle in music.
Therefore the student will find that a phrase, in the great majority of cases, covers exactly four measures, and will seldom be misled if he looks for the end of his phrase four measures beyond its beginning. This refers, be it understood, only to measures of average size (in the ordinary time denominations, 3-4, 4-4, 6-8 measure). If the measures are uncommonly large (9-8, 12-8), the phrase will probably cover no more than two of them; or, if small (2-4, or 3-4 in rapid tempo), the phrase may extend to the eighth measure. The operation of this four-measure rule is exhibited with striking regularity and persistence in the Jugend Album of Schumann (op. 68); throughout its forty-three numbers there are probably no more than a half-dozen phrases whose length differs from this standard. For example:
[Illustration: Example 16. Fragment of Schumann, Op. 68, No. 11.]
It will be observed that the first (and also the third) of these phrases consists of two exactly similar two-measure motives. This seems to lend some confirmation to the idea of a two-measure phrase; but the student is warned against deviating from his four-measure standard, upon such evidence as this. Many instances will be found, like these, in which the impression of a complete phrase is not gained until the motive of two measures has been thus repeated; the repetition is necessary, in order to finish the sentence, and this proves that the two measures alone do not constitute the "complete idea" which we expect the phrase to represent.
The same regularity of dimension will usually be found in all kinds of dance music; in technical exercises (for instance, the études of Czerny and others); and in all music of a simple or popular character.
EXCEPTIONS.—In its ordinary, normal condition the phrase is a musical sentence four measures in length. But this rule has its necessary exceptions; necessary because, as we have learned, the principle of Variety is quite as vital as that of Unity or symmetry. The phrase is not always regular; by various means and for various reasons, it occasionally assumes an irregular form. When such irregular phrases are encountered (phrases of less or more than four measures) the student will best distinguish them by defining their extremities, their beginning and ending—as "beginning" and "ending," without reference to their length. This should not be attended with any serious difficulty; at least not to the observant student who reads his musical page thoughtfully, and attaches some meaning to the figures and motives of the melody; who endeavors to recognize the extent to which the successive tones appear to cling together (like the letters in a word) and constitute an unbroken melodic number,—and, in so doing, also recognizes the points where this continuity is broken, and a new number is announced. Much assistance may be derived from the fact—striking in its simplicity—that the ending of one phrase defines, at the same time, the beginning of the next, and vice versa. The locating of one, therefore, serves to locate the other. There is, usually, something sufficiently indicative about a "beginning," to render it noticeable to a careful observer, and the same is true of an "ending." This is illustrated in the following: