The irregular phrase will be again considered (in a different aspect) in a later chapter.
The recognition of these syntactic traits of the melodic sentence is of great moment to the player, for they constitute the information upon which conscious, intelligent, effective _phrasing_ depends; and without intelligent phrasing, without a clear exposition of the formation and arrangement of the members and phrases, full comprehension and adequate enjoyment of a musical composition is impossible.
* * * * * * CONTENTS OF THE PHRASE .-- The question may arise, what is it that makes a phrase,--the rhythm, harmony, or melody?
Strictly speaking, all three; for music subsists in the ceaseless co-operation of these three primary elements of composition, and no phrase is wholly complete without the evidence of each and all.

Generalizing the definitions already given, the function of each of these primary elements may be thus described: The element of harmony regulates the choice of the tones that are to sound together; the upright shafts of tone (chords) which determine the _body_, or framework, of the music.

The element of melody regulates the choice of single tones, selected from the successive shafts of harmony, that are to form a connected line or strand of tones (in horizontal order, so to speak),--something like a chain or chains stretched from harmonic post to post, which describe the figure or _outline_ of the musical image.

The element of rhythm gives the whole body its _life_,--regulates the choice of varying lengths, defining the infinitely varied "tapping" of the musical mechanism.
It is evident, from this, that no vivid, satisfying musical impression can be created in the absence of any one of these essential elements.
But, for all that, they are not of equal importance; and, in determining the extremities of the phrase (and of all other factors of musical structure), the melody takes precedence over harmony and rhythm.

That is to say, that in his analysis of figures, motives, phrases, periods, and so forth, the student's attention should be centered upon the melody,--that chain of successive single tones which, as repeatedly stated, usually describes the _uppermost_ line of the harmonic and rhythmic body.