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.