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27:
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A phrase member is one of the parts in a phrase separated into two by a pause or long note value, the second of which may repeat, sequence, or contrast with the first. A phrase segment "is a distinct portion of the phrase, but it is not a phrase either because it is not terminated by a cadence or
263:
Phrase rhythm is the rhythmic aspect of phrase construction and the relationships between phrases, and "is not at all a cut-and-dried affair, but the very lifeblood of music and capable of infinite variety. Discovering a work's phrase rhythm is a gateway to its understanding and to effective
259:
A phrase-group is "a group of three or more phrases linked together without the two-part feeling of a period", or "a pair of consecutive phrases in which the first is a repetition of the second or in which, for whatever reason, the antecedent-consequent relationship is absent".
216:) is as contestable as its pendant in language, where there can be even one-word-phrases (like "Stop!" or "Hi!"). Thus no strict line can be drawn between the terms of the 'phrase', the 'motiv' or even the separate tone (as a one-tone-, one-chord- or one-noise-expression).
283:
156:
is often made, still the term "is one of the most ambiguous in music....there is no consistency in applying these terms nor can there be...only with melodies of a very simple type, especially those of some dances, can the terms be used with some consistency."
56:
284:
181:. What counts is the sense of completeness we hear in the pitches not the notation on the page. To be complete such a group must have an ending of some kind … . Phrases are delineated by the tonal functions of pitch. They are not created by
57:
160:
John D. White defines a phrase as "the smallest musical unit that conveys a more or less complete musical thought. Phrases vary in length and are terminated at a point of full or partial repose, which is called a
249:
250:
281:
189:
performance ... . A phrase is not pitches only but also has a rhythmic dimension, and further, each phrase in a work contributes to that work's large rhythmic organization."
54:
209:. A phrase will end with a weaker or stronger cadence, depending on whether it is an antecedent phrase or a consequent phrase, the first or second half of a period.
282:
55:
1094:
177:
defines a phrase as "Any group of measures (including a group of one, or possibly even a fraction of one) that has some degree of
800:
660:
604:
227:
separate from others, however few or many beats, i. e. distinct musical events like tones, chords or noises, it may contain.
766:
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152:
have been adopted into the vocabulary of music from linguistic syntax. Though the analogy between the musical and the
750:
731:
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230:
682:
384:
360:
1099:
243:
793:
276:
223:, the term of 'phrase' is rather enveloping any musical expression which is perceived as a consistent
1104:
854:
212:
However, the absolute span of the phrase (the term in today's use is coined by the German theorist
239:
1049:
979:
372:
1064:
786:
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692:
268:. Techniques include overlap, lead-in, extension, expansion, reinterpretation and elision.
8:
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is a substantial musical thought, which ends with a musical punctuation called a
113:
515:. "The Phrase Rhythm of Chopin's A-flat Major Mazurka, Op. 59, No. 2"; cited in
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959:
904:
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778:
704:
348:
301:
220:
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109:
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173:, a period of motion, and a point of arrival marked by a cadential downbeat".
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97:
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How to
Understand Music: A Concise Course in Musical Intelligence and Taste
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101:
73:
34:
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What We Hear in Music: A Course of Study in Music
History and Appreciation
1014:
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824:
495:. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall.
954:
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analyses the "typical musical phrase" as consisting of an "initial
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performance." The term was popularized by
William Rothstein's
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994:
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491:
Winold, Allen (1975). "Rhythm in
Twentieth-Century Music",
292:
because it seems too short to be relatively independent".
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128:. Phrases are created in music through an interaction of
92:
that has a complete musical sense of its own, built from
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329:
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697:Music and Discourse: Toward a Semiology of Music
275:Phrase segments in the opening of Beethoven's
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68:Diagram of a period consisting of two phrases
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559:System der musikalischen Rhythmik und Metrik
438:
205:long culminating in a more or less definite
669:
655:. Vol. I (7th ed.). McGraw-Hill.
622:
396:
801:
787:
613:
197:In common practice phrases are often four
594:
355:, p. 252. 7th edition. Thomson Schirmer.
769:(1881) by William Smythe Babcock Mathews
724:Engaging Music: Essays in Music Analysis
270:
229:
63:
25:
691:
651:Benward, Bruce; Saker, Marilyn (2003).
542:
529:
455:
426:
409:
408:Falk (1958), p. 11, Larousse; cited in
1087:
19:For phrasing as expressive music, see
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726:. New York: Oxford University Press.
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582:
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479:
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528:Larousse, Davie 1966, 19; cited in
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13:
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701:Musicologie générale et sémiologue
493:Aspects of Twentieth-Century Music
14:
1116:
1095:Formal sections in music analysis
353:Techniques and Materials of Music
33:built of two five-bar phrases in
1073:
599:. New York: Schirmer. p. .
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247:
52:
775:(c. 1921) by Anne Shaw Faulkner
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548:
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707:. Princeton University Press.
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1:
677:(3rd ed.). McGraw-Hill.
653:Music: In Theory and Practice
379:, p. 48. Dodd, Mead, and Co.
351:; and Nelson, Robert (2003).
322:
377:Perspectives in Music Theory
266:Phrase Rhythm in Tonal Music
7:
597:Phase Rhythm in Tonal Music
595:Rothstein, William (1990).
295:
234:Phrase-group of three four
10:
1121:
18:
1071:
820:
673:; Payne, Dorothy (1995).
246:, K. 332, first movement.
85:
635:Benward & Saker 2003
439:Benward & Saker 2003
104:, and combining to form
741:White, John D. (1976).
722:Stein, Deborah (2005).
703:, 1987). Translated by
623:Kostka & Payne 1995
397:Kostka & Payne 1995
179:structural completeness
452:Encyclopédie Fasquelle
288:
256:
142:
69:
61:
743:The Analysis of Music
693:Nattiez, Jean-Jacques
274:
233:
118:
67:
29:
16:Unit of musical meter
885:Developing variation
1100:Musical terminology
1045:Thirty-two-bar form
910:Formula composition
541:Larousse; cited in
347:Benjamin, Thomas;
289:
257:
219:Thus, in views of
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62:
1082:
1081:
1065:Verse–chorus form
1020:Sonata rondo form
855:Call and response
835:Ausmultiplikation
745:. Prentice-Hall.
662:978-0-07-294262-0
606:978-0-02-872191-0
573:, pp. 43–44.
513:Burkhart, Charles
285:
253:
244:Piano Sonata in F
154:linguistic phrase
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193:Duration or form
175:Charles Burkhart
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21:Musical phrasing
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88:) is a unit of
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705:Carolyn Abbate
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637:, p. 113.
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302:Period (music)
297:
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277:Symphony No. 6
221:Gestalt theory
194:
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144:Terms such as
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752:0-13-033233-X
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733:0-19-517010-5
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714:0-691-02714-5
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675:Tonal Harmony
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625:, p. 158
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90:musical meter
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36:
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1035:Ternary form
964:
920:Introduction
810:Musical form
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723:
700:
699:(originally
696:
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652:
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566:
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555:Hugo Riemann
550:
543:Nattiez 1990
537:
530:Nattiez 1990
524:
508:
492:
487:
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456:Nattiez 1990
451:
446:
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427:Nattiez 1990
422:
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410:Nattiez 1990
404:
392:
376:
373:Cooper, Paul
368:
352:
343:
331:
317:Lick (music)
290:
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224:
218:
214:Hugo Riemann
211:
196:
178:
162:
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145:
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121:
119:
77:
74:music theory
71:
38:
1015:Sonata form
975:Post-chorus
890:Development
880:Cyclic form
845:Binary form
814:development
545:, p. .
532:, p. .
519:, p. .
470:, p. .
458:, p. .
454:; cited in
425:; cited in
412:, p. .
238:phrases in
167:Edward Cone
112:and larger
39:Feldpartita
1089:Categories
1055:Transition
985:Repetition
970:Pre-chorus
900:Exposition
870:Conclusion
684:0073000566
583:White 1976
571:White 1976
517:Stein 2005
480:White 1976
468:Stein 2005
429:, p.
385:0396067522
361:0495500542
336:White 1976
323:References
1060:Variation
925:Leitmotif
825:Arch form
423:New Grove
955:Overture
950:Ostinato
945:Movement
840:Bar form
830:Argument
695:(1990).
375:(1973).
296:See also
203:measures
171:downbeat
146:sentence
114:sections
106:melodies
44:♭
1010:Section
990:Reprise
645:Sources
307:Strophe
225:gestalt
207:cadence
163:cadence
134:harmony
126:cadence
110:periods
94:figures
965:Phrase
960:Period
935:Melody
905:Finale
850:Bridge
749:
730:
711:
681:
659:
603:
499:
383:
359:
240:Mozart
187:legato
185:or by
138:rhythm
136:, and
130:melody
122:phrase
100:, and
98:motifs
78:phrase
51:II:12.
31:Period
1040:Theme
1005:Rondò
1000:Rondo
940:Motif
875:Cycle
450:1958
421:1980
150:verse
102:cells
86:φράση
82:Greek
35:Haydn
995:Riff
930:Lick
915:Hook
895:Drop
865:Coda
860:Cell
812:and
747:ISBN
728:ISBN
709:ISBN
679:ISBN
657:ISBN
601:ISBN
497:ISBN
381:ISBN
357:ISBN
199:bars
183:slur
148:and
76:, a
49:Hob.
41:in B
242:'s
236:bar
201:or
165:."
72:In
37:'s
1091::
615:^
557:.
132:,
120:A
116:.
108:,
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755:.
736:.
717:.
687:.
665:.
609:.
503:.
387:.
363:.
140:.
80:(
23:.
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