242:
283:
472:
76:
38:
1086:
262:
263:
302:
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
274:
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
270:
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".
227:) 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).
294:
167:
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."
67:
295:
192:. 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
68:
171:
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
260:
261:
292:
200:
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."
65:
220:. 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.
293:
66:
1105:
188:
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
811:
671:
615:
238:
separate from others, however few or many beats, i. e. distinct musical events like tones, chords or noises, it may contain.
17:
777:
783:
163:
have been adopted into the vocabulary of music from linguistic syntax. Though the analogy between the musical and the
761:
742:
723:
511:
241:
693:
395:
371:
1110:
254:
804:
287:
234:, the term of 'phrase' is rather enveloping any musical expression which is perceived as a consistent
1115:
865:
223:
However, the absolute span of the phrase (the term in today's use is coined by the German theorist
250:
1060:
990:
383:
1075:
797:
930:
895:
703:
279:. Techniques include overlap, lead-in, extension, expansion, reinterpretation and elision.
8:
1055:
920:
900:
824:
282:
1065:
995:
910:
880:
1085:
1070:
1030:
845:
757:
738:
719:
689:
667:
611:
507:
391:
367:
59:
181:
955:
840:
523:
185:
31:
1050:
1020:
322:
217:
135:
is a substantial musical thought, which ends with a musical punctuation called a
124:
526:. "The Phrase Rhythm of Chopin's A-flat Major Mazurka, Op. 59, No. 2"; cited in
1035:
970:
915:
860:
789:
715:
359:
312:
231:
177:
120:
104:
92:
41:
184:, a period of motion, and a point of arrival marked by a cadential downbeat".
75:
1099:
1040:
950:
885:
681:
108:
100:
37:
1045:
940:
925:
905:
875:
870:
820:
778:
How to
Understand Music: A Concise Course in Musical Intelligence and Taste
565:
327:
224:
193:
112:
84:
45:
784:
What We Hear in Music: A Course of Study in Music
History and Appreciation
1025:
985:
890:
855:
246:
213:
209:
980:
935:
835:
506:. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall.
965:
960:
850:
180:
analyses the "typical musical phrase" as consisting of an "initial
1015:
1000:
317:
144:
136:
945:
197:
164:
148:
140:
116:
275:
performance." The term was popularized by
William Rothstein's
1010:
1005:
639:
502:
Winold, Allen (1975). "Rhythm in
Twentieth-Century Music",
303:
because it seems too short to be relatively independent".
443:
401:
139:. Phrases are created in music through an interaction of
103:
that has a complete musical sense of its own, built from
575:
587:
484:
340:
1097:
819:
708:Music and Discourse: Toward a Semiology of Music
286:Phrase segments in the opening of Beethoven's
805:
629:
627:
79:Diagram of a period consisting of two phrases
661:
645:
570:System der musikalischen Rhythmik und Metrik
449:
216:long culminating in a more or less definite
680:
666:. Vol. I (7th ed.). McGraw-Hill.
633:
407:
812:
798:
624:
208:In common practice phrases are often four
605:
366:, p. 252. 7th edition. Thomson Schirmer.
780:(1881) by William Smythe Babcock Mathews
735:Engaging Music: Essays in Music Analysis
281:
240:
74:
36:
702:
662:Benward, Bruce; Saker, Marilyn (2003).
553:
540:
466:
437:
420:
419:Falk (1958), p. 11, Larousse; cited in
14:
1098:
30:For phrasing as expressive music, see
793:
751:
737:. New York: Oxford University Press.
732:
593:
581:
527:
490:
478:
346:
539:Larousse, Davie 1966, 19; cited in
203:
24:
771:
712:Musicologie générale et sémiologue
504:Aspects of Twentieth-Century Music
25:
1127:
1106:Formal sections in music analysis
364:Techniques and Materials of Music
44:built of two five-bar phrases in
1084:
610:. New York: Schirmer. p. .
290:
258:
63:
786:(c. 1921) by Anne Shaw Faulkner
599:
559:
546:
533:
517:
496:
718:. Princeton University Press.
455:
426:
413:
377:
352:
13:
1:
688:(3rd ed.). McGraw-Hill.
664:Music: In Theory and Practice
390:, p. 48. Dodd, Mead, and Co.
362:; and Nelson, Robert (2003).
333:
388:Perspectives in Music Theory
277:Phrase Rhythm in Tonal Music
7:
608:Phase Rhythm in Tonal Music
606:Rothstein, William (1990).
306:
245:Phrase-group of three four
10:
1132:
29:
1082:
831:
684:; Payne, Dorothy (1995).
257:, K. 332, first movement.
96:
646:Benward & Saker 2003
450:Benward & Saker 2003
115:, and combining to form
752:White, John D. (1976).
733:Stein, Deborah (2005).
714:, 1987). Translated by
634:Kostka & Payne 1995
408:Kostka & Payne 1995
190:structural completeness
463:Encyclopédie Fasquelle
299:
267:
153:
80:
72:
754:The Analysis of Music
704:Nattiez, Jean-Jacques
285:
244:
129:
78:
40:
27:Unit of musical meter
18:Phrase (music theory)
896:Developing variation
1111:Musical terminology
1056:Thirty-two-bar form
921:Formula composition
552:Larousse; cited in
358:Benjamin, Thomas;
300:
268:
230:Thus, in views of
81:
73:
1093:
1092:
1076:Verse–chorus form
1031:Sonata rondo form
866:Call and response
846:Ausmultiplikation
756:. Prentice-Hall.
673:978-0-07-294262-0
617:978-0-02-872191-0
584:, pp. 43–44.
524:Burkhart, Charles
296:
264:
255:Piano Sonata in F
165:linguistic phrase
69:
16:(Redirected from
1123:
1116:Rhythm and meter
1088:
1061:Through-composed
814:
807:
800:
791:
790:
767:
748:
729:
699:
677:
649:
643:
637:
631:
622:
621:
603:
597:
591:
585:
579:
573:
563:
557:
550:
544:
537:
531:
521:
515:
500:
494:
488:
482:
476:
470:
459:
453:
447:
441:
430:
424:
417:
411:
405:
399:
381:
375:
356:
350:
344:
298:
297:
266:
265:
204:Duration or form
186:Charles Burkhart
98:
71:
70:
57:
56:
32:Musical phrasing
21:
1131:
1130:
1126:
1125:
1124:
1122:
1121:
1120:
1096:
1095:
1094:
1089:
1080:
827:
818:
774:
772:Further reading
764:
745:
726:
696:
674:
653:
652:
644:
640:
632:
625:
618:
604:
600:
592:
588:
580:
576:
572:(Leipzig, 1903)
564:
560:
551:
547:
538:
534:
522:
518:
501:
497:
489:
485:
477:
473:
460:
456:
448:
444:
431:
427:
418:
414:
406:
402:
382:
378:
360:Horvit, Michael
357:
353:
345:
341:
336:
323:Melodic pattern
309:
291:
259:
206:
99:) is a unit of
64:
54:
53:
35:
28:
23:
22:
15:
12:
11:
5:
1129:
1119:
1118:
1113:
1108:
1091:
1090:
1083:
1081:
1079:
1078:
1073:
1068:
1063:
1058:
1053:
1048:
1043:
1038:
1036:Song structure
1033:
1028:
1023:
1018:
1013:
1008:
1003:
998:
993:
991:Recapitulation
988:
983:
978:
973:
968:
963:
958:
953:
948:
943:
938:
933:
928:
923:
918:
913:
908:
903:
898:
893:
888:
883:
878:
873:
868:
863:
858:
853:
848:
843:
838:
832:
829:
828:
817:
816:
809:
802:
794:
788:
787:
781:
773:
770:
769:
768:
762:
749:
743:
730:
724:
716:Carolyn Abbate
700:
694:
682:Kostka, Stefan
678:
672:
651:
650:
648:, p. 113.
638:
623:
616:
598:
586:
574:
558:
545:
532:
516:
495:
483:
471:
454:
442:
425:
412:
410:, p. 162.
400:
376:
351:
338:
337:
335:
332:
331:
330:
325:
320:
315:
313:Period (music)
308:
305:
288:Symphony No. 6
232:Gestalt theory
205:
202:
155:Terms such as
26:
9:
6:
4:
3:
2:
1128:
1117:
1114:
1112:
1109:
1107:
1104:
1103:
1101:
1087:
1077:
1074:
1072:
1069:
1067:
1064:
1062:
1059:
1057:
1054:
1052:
1049:
1047:
1044:
1042:
1041:Strophic form
1039:
1037:
1034:
1032:
1029:
1027:
1024:
1022:
1019:
1017:
1014:
1012:
1009:
1007:
1004:
1002:
999:
997:
994:
992:
989:
987:
984:
982:
979:
977:
974:
972:
969:
967:
964:
962:
959:
957:
954:
952:
949:
947:
944:
942:
939:
937:
934:
932:
929:
927:
924:
922:
919:
917:
914:
912:
909:
907:
904:
902:
899:
897:
894:
892:
889:
887:
884:
882:
879:
877:
874:
872:
869:
867:
864:
862:
859:
857:
854:
852:
849:
847:
844:
842:
839:
837:
834:
833:
830:
826:
822:
815:
810:
808:
803:
801:
796:
795:
792:
785:
782:
779:
776:
775:
765:
763:0-13-033233-X
759:
755:
750:
746:
744:0-19-517010-5
740:
736:
731:
727:
725:0-691-02714-5
721:
717:
713:
709:
705:
701:
697:
691:
687:
686:Tonal Harmony
683:
679:
675:
669:
665:
660:
659:
658:
657:
647:
642:
636:, p. 158
635:
630:
628:
619:
613:
609:
602:
596:, p. 46.
595:
590:
583:
578:
571:
567:
562:
555:
549:
542:
536:
529:
525:
520:
513:
512:0-13-049346-5
509:
505:
499:
493:, p. 34.
492:
487:
480:
475:
468:
464:
458:
452:, p. 89.
451:
446:
439:
435:
429:
422:
416:
409:
404:
397:
393:
389:
385:
380:
373:
369:
365:
361:
355:
349:, p. 44.
348:
343:
339:
329:
326:
324:
321:
319:
316:
314:
311:
310:
304:
289:
284:
280:
278:
272:
256:
252:
248:
243:
239:
237:
233:
228:
226:
221:
219:
215:
211:
201:
199:
195:
191:
187:
183:
179:
175:
169:
166:
162:
158:
152:
150:
146:
142:
138:
134:
128:
126:
122:
118:
114:
110:
106:
102:
101:musical meter
94:
90:
86:
77:
61:
51:
47:
43:
39:
33:
19:
1046:Ternary form
975:
931:Introduction
821:Musical form
753:
734:
711:
710:(originally
707:
685:
663:
655:
654:
641:
607:
601:
589:
577:
569:
566:Hugo Riemann
561:
554:Nattiez 1990
548:
541:Nattiez 1990
535:
519:
503:
498:
486:
474:
467:Nattiez 1990
462:
457:
445:
438:Nattiez 1990
433:
428:
421:Nattiez 1990
415:
403:
387:
384:Cooper, Paul
379:
363:
354:
342:
328:Lick (music)
301:
276:
273:
269:
235:
229:
225:Hugo Riemann
222:
207:
189:
173:
170:
160:
156:
154:
132:
130:
88:
85:music theory
82:
49:
1026:Sonata form
986:Post-chorus
901:Development
891:Cyclic form
856:Binary form
825:development
556:, p. .
543:, p. .
530:, p. .
481:, p. .
469:, p. .
465:; cited in
436:; cited in
423:, p. .
249:phrases in
178:Edward Cone
123:and larger
50:Feldpartita
1100:Categories
1066:Transition
996:Repetition
981:Pre-chorus
911:Exposition
881:Conclusion
695:0073000566
594:White 1976
582:White 1976
528:Stein 2005
491:White 1976
479:Stein 2005
440:, p.
396:0396067522
372:0495500542
347:White 1976
334:References
1071:Variation
936:Leitmotif
836:Arch form
434:New Grove
966:Overture
961:Ostinato
956:Movement
851:Bar form
841:Argument
706:(1990).
386:(1973).
307:See also
214:measures
182:downbeat
157:sentence
125:sections
117:melodies
55:♭
1021:Section
1001:Reprise
656:Sources
318:Strophe
236:gestalt
218:cadence
174:cadence
145:harmony
137:cadence
121:periods
105:figures
976:Phrase
971:Period
946:Melody
916:Finale
861:Bridge
760:
741:
722:
692:
670:
614:
510:
394:
370:
251:Mozart
198:legato
196:or by
149:rhythm
147:, and
141:melody
133:phrase
111:, and
109:motifs
89:phrase
62:II:12.
42:Period
1051:Theme
1016:Rondò
1011:Rondo
951:Motif
886:Cycle
461:1958
432:1980
161:verse
113:cells
97:φράση
93:Greek
46:Haydn
1006:Riff
941:Lick
926:Hook
906:Drop
876:Coda
871:Cell
823:and
758:ISBN
739:ISBN
720:ISBN
690:ISBN
668:ISBN
612:ISBN
508:ISBN
392:ISBN
368:ISBN
210:bars
194:slur
159:and
87:, a
60:Hob.
52:in B
253:'s
247:bar
212:or
176:."
83:In
48:'s
1102::
626:^
568:.
143:,
131:A
127:.
119:,
107:,
95::
58:,
813:e
806:t
799:v
766:.
747:.
728:.
698:.
676:.
620:.
514:.
398:.
374:.
151:.
91:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
