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THE PHRASE.
THE PHRASE .-- It is not altogether easy to give a precise definition of the phrase.

Like so many of the factors which enter into the composition of this most abstract, ideal, and intangible of the arts, the phrase demands considerable latitude of treatment, and will not readily submit to strict limitations or absolute technical conditions.
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.